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Los Angeles Filmforum at MOCA presents

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Andy Warhol: Light and Dark

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Music by Ezra Buchla

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Live music by Ezra B uchla!
In conjunction with the exhibition \;Andy War hol: Shadows\, \;Los Angeles Filmforum at MOCA is proud to present a special screening of Warhol&rsquo\;s films \;Kiss \;(19 63) and \;Blow Job \;(1964) with live music by experimenta l composer Ezra Buchla. \;Shadows\, which became an increasing ly important concern in Warhol&rsquo\;s two-dimensional artworks over the c ourse of the 1970s\, also played a starring role in his earlier film work. A single light\, at once harsh and hallowing\, illuminates actions\, both m undane and profane\, by turns captivating and alienating. The resultant pla y of light\, shadow\, time\, and attention are among the most influential a nd arresting artworks of the twentieth century.

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Beverages &\; li ght refreshments will be available for purchase at Lemonade Café\; un til 10pm.

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Tickets: $12 general admission\; $7 students with valid I D

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Tickets available in advance at http://www.brownpapertickets.com/ event/258310

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FREE for MOCA and Los Angeles Filmforum members\; must present current membership card to claim free tickets

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INFO 213/621 -1745 or education@moca.org

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Screening:

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Kiss. (1963. 16mm film\, black and white\, silent\, 54 minutes at 16 frames p er second.)

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Originally screened serially as The Andy Warhol Ser ial\, Kiss is comprised of 13 couples kissing for the duratio n of a whole roll of 16mm film\, including Gerard Melanga\, John Palmer\, & ldquo\;Baby&rdquo\; Jane Holzer\, Marisol\, Ed Sanders\, and Naomi Levine\, and more.

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Blow Job. (1964. 16mm film\, b lack and white\, silent\, 41 min. at 16 frames per second)

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The act indicated by the title\, if it is happening at all\, takes place entirely o ff screen. A man&mdash\;originally uncredited\, but later identified as DeV erne Bookwalter&mdash\;his face in close-up\, illuminated by a single light \, rocks forward and back in apparent ecstasy\, and at times\, it would see m\, boredom. Duration\, repetition\, and desire are all elegantly conjured in this masterful portrait.

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Andy Warhol (b. 1928\, Pittsburg\, Pennsylvania\; d. 1987\, New York) grew up in McKeesport\, Pen nsylvania. From 1945 to 1949\, he studied art at the Carnegie Institute of Technology\, receiving a B.A. in Pictorial Design. In 1949 he moved to New York to pursue a career as a commercial illustrator and began exhibiting dr awings and paintings in the 1950s. In 1962 his first solo exhibition\, Andy Warhol: Campbell&rsquo\;s Soup Cans\, was mounted at the historic Ferus Ga llery in Los Angeles and later exhibited at MOCA in 2011. Thereafter his wo rk&mdash\;which spans prints\, drawings\, Polaroid photographs\, silkscreen ed canvases\, 16mm and Super 8 film\, and writing&mdash\;was widely shown n ationally and abroad.

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Ezra Buchla (b. 1981\, Berke ley\, California) is a musician/technologist from Los Angeles who uses viol a\, voice\, and software. He fronted the avant-pop-core band Mae Shi from 2 003-2006\, played in the band Gowns from 2005-2010\, and now performs solo work that deals in folk tonality\, indeterminacy\, dense psychedelic song\, and electronic formalism. He also collaborates and performs with many arti sts\, including clipping.\, Chelsea Wolfe\, Andre Vida\, Father Murphy\, an d Claire Cronin. Ezra also develops music software and firmware\, recently creating the framework for the open-source &lsquo\;aleph&rsquo\; sound proc essor by monome. For more information: www.catfact.net

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Acknowledgements:

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Los Angeles Filmforum at MOCA is supported through both organizations by the Los Angeles County Board of Supervisors through the Los Angeles Cou nty Arts Commission. Additional support of Filmforum's screening series com es from the Mike Kelley Foundation for the Arts and the Department of Cultu ral Affairs\, City of Los Angeles. We also depend on our members\, ticket b uyers\, and individual donors.

DTEND:20141113T210000 DTSTAMP:20141021T072025 DTSTART:20141113T190000 GEO:34.052871;-118.250842 LOCATION:MOCA (Museum of Contemporary Art) at Grand Ave.\,250 S. Grand Ave. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Andy Warhol: Light and Dark\, with Music by Ezra Buchla\, Ezra Buch la\, Andy Warhol UID:361751 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Melika Bass in person from Chicago!  \;

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Los Angeles premieres!

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T ime for a change from our recent run of abstract light plays and Warhol epi cs as we welcome noted filmmaker Melika Bass from Chicago for her first sol o show in Los Angeles. \; Bass presents the Los Angeles premieres of a pair of beautifully shot (on 16mm) and performed representational dramas\, deliberately-paced\, with finely noted details of objects and sounds\, and narratives elusive and possibly allusive. \; Shoals and Wa king Things are superb expressions of mood\, wrought with portents of danger and disaster never seen. \; Each film investigates the rhythms a nd routines of an isolated small group of people\, following a spiritual or cult-based practice. \; They are almost timeless portraits\, with indi cations of being set in an unclear past\, but Shoals also implies spaces of a potential present\, and Waking Things that of a potent ial future. \; Come see Bass&rsquo\;s unique explorations of the possib ilities of short film art. \; Capped by a dance film directed by Bass c ommissioned by Sigur Ró\;s for their Valtari Mystery Film Experiment.

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 \;

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&ldquo\;Bass's films evoke living paintings&mdash\ ;the textures are as inviting as the narratives are withholding.&rdquo\; &n dash\; Ben Sachs\, Chicago Reader

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&ldquo\;Inner and Outer Landscapes: A Conversation with Melika Bass&rdquo\; by Monica Westin: http://badatsports.com/2013/inner-and-oute r-landscapes-a-conversation-with-melika-bass/

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Melika Bass on &l dquo\;Shoals and &ldquo\;Waking Things&rdquo\;:

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http://indie-outlook.com/2013/07/15/melika-bass-on-shoals-waking-things /

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Tickets: $10 general admission\; $6 students (with ID)/senior s\; free for Filmforum members.

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Tickets available in advance at http://bpt.me/903589

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For more event information: www.lafilmforum.org\, or 323-377-7238

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Screening:

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WAKING THINGS (2012\, 16mm to video\, 34 mins.) Los Angeles premie re!

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Written\, Directed\, Edited by Melika Bass

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A s hort film co-produced by and featuring ensemble members of Every house has a door performance group.

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"Cyclical time dilated to the maximum...l oaded with details of Nature as memento mori\,

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reminding us of the transience of this and of life itself." (Sentieri Selvaggi\, Italy )

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"Characters announced in exquisite typeface. . . scurry along pat hs\, dart through doorways and sleep upright. Bass mystifies the work of th ese plain folk with her own filmic magic." (Chicago Sun-Times)

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In a house in a primeval wood\, a mysterious\, misfit family prepares a seasonal feast for a visiting party of outlanders. As they shuffle throug h ritualistic preparations\, shadows reveal each creature -- one menacing\, one wounded\, and one worn\, stewards of an old tradition\, blood for bloo d. (MB)

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SHOALS (2011\, 16mm to HD \, 52 min.) Los Angeles premiere!

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Written\, Directed\, Edi ted by Melika Bass

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A slow-burning prairie grotesque. On the grounds of a rural sanitarium\, three young women search for wellness\, as a cult leader seeks to control their bodies through labor and daily rituals. (MB)< /p>\n

Winner\, Experimental Film Prize\, 2012 Athens International Film F estival

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Shoals preview: http://vimeo.com/37775690

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"[A] fever dream of a vivid n atural landscape&hellip\; affecting for its hushed soundtrack and low-grain photography." (Chicago Reader)

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"[A] strangely compelling& mdash\;almost mesmerizing&mdash\;work. . .like Malick meets David Lynch\, i f you want a comparison\, but in a deeper sense\, Shoals is very m uch its own beast." (Mountain Xpress)

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VARÐ\;ELD UR (2012\, Super 16mm to HD\, 6 mins.)

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Music by Sigur R&o acute\;s\, performance by Selma Banich.

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Directed by Melika Bass

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An original film commissioned by the Icelandic band Sigur Ró\;s for their Valtari Mystery Film Experiment.

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A film portrait of an un stable entity in a haunted vessel\, drawn into and floating away from a sir en song. (MB)

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"With a lived-in\, haunting beauty that is distinctiv ely its own." (Heave Media)

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"Emotionally stirring &hellip\ ; at once terrifying\, lonely and gorgeous." (Exclaim Canada)

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Melika Bass is a filmmaker and installation artist cur rently living in Chicago. Bass is the recipient of an Artadia Award\, two M edia Arts Fellowships from the Illinois Arts Council\, the Kodak/Filmcraft Imaging Award from the Ann Arbor Film Festival\, and an Experimental Film P rize from the Athens International Film Festival. In 2013\, Bass was appoin ted the Pick-Laudati Artist in Residence at the Alice Kaplan Institute for the Humanities\, at Northwestern University.

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Screenings and exhibit ions include the Film Society of Lincoln Center\, New York\; Kino der Kunst \, Munich\; Museum of Contemporary Art Chicago (solo exhibition\, February 2011)\; Torino Film Festival\, Italy\; Anthology Film Archives\, New York\; Ann Arbor Film Festival\; Museum of Contemporary Art Detroit\; BFI London Film Festival\; Athens International Film Festival\; Segal Center for the P erforming Arts\, Montreal\; Hamburg International Film Festival\, Germany\; and the Split Festival of New Film\, Croatia. Her work has been profiled a nd reviewed in Filmmaker Magazine\, Time Out Chicago\, Bad at Sports\, Art Daily\, Rolling Stone Italy\, Chicago Tribune\, Chicago Reader\, Pitchf ork\, and the Chicago Sun-Times. \; More at http://www.te nderarchive.com

DTEND:20141102T220000 DTSTAMP:20141021T072025 DTSTART:20141102T193000 GEO:34.101418;-118.336595 LOCATION:Spielberg Theatre at the Egyptian\,6712 Hollywood Blvd. \nLos Ange les\, CA 90028 SEQUENCE:0 SUMMARY:Melika Bass: Mysterious Gestures\, Melika Bass UID:361750 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CMay Ga llery is pleased to announce Suspended Geometry\, a solo exhibition by Los Angeles artist\, Moshé\; Elimelech.On view will be a collection of recent paintings and sculpture that demonstrates Elimelech&rsquo\;s elegant precision with form and color. His arithmetic paintings investigate formal elements with a superb eye for des ign and an understated sense of play. Elimelech has the ability to transfor m a rigorous cube into a colorful meditation that undulates with a musical rhythm. Some cubes are flat while others are three-dimensional\, yet they a ll remain consistent with Elimelech&rsquo\;s refined interaction with color . Elimelech extends this interaction with his stripe paintings. In each pai nting\, nine even bars of color subtly gradate into a disarmingly sensual v isual experience. The sensuality continues throughout his Freeways acrylics on paper. With fluid line and gesture\, each watercolor performs a visual haiku that signifies not one specific freeway overpass but every o verpass viewed at sixty-five miles per hour.

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Elimelech began his artistic journey in Israel\, first at the Avni Art Institute in Israel and completing his studies at The Polytechnic Insti tute of Design in Tel Aviv. He later worked as an Art Director for the Isra eli army publication house\, Maarachot\, before heading to Paris where he a ssisted internationally recognized artist Yaakov Agam. In 1984\, Elimelech was a contributing artist for the Los Angeles Olympics and is a recipient o f the Windsor Newton award by the Watercolor West Society. His work has bee n featured internationally in galleries and museums.

DTEND:20141219 DTSTAMP:20141021T072025 DTSTART:20141114 GEO:34.0821315;-118.3826225 LOCATION:CMay Gallery\,8687 Melrose Ave. Space B226\nWest Hollywood\, CA 90 069 SEQUENCE:0 SUMMARY:Suspended Geometry\, Moshé Elimelech UID:361740 END:VEVENT BEGIN:VEVENT DTEND:20141114T203000 DTSTAMP:20141021T072025 DTSTART:20141114T170000 GEO:34.0821315;-118.3826225 LOCATION:CMay Gallery\,8687 Melrose Ave. Space B226\nWest Hollywood\, CA 90 069 SEQUENCE:0 SUMMARY:Suspended Geometry\, Moshé Elimelech UID:361741 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Purple Electric Play (P EP!) is a (literally) underground theatrical performance featuring magi c\, political history\, black lights\, black
arts\, levitation\, grat uitous special effects and entertainers both human and puppet producing a b ewildering array of emotional and artistic effects.

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Please check out our fundraising campaign here!\n

SUMMARY:
Over a year in the making\, Purple Electric Play (PEP!) is Machine Project&rsquo\ ;s newest collaboration with visionary playwright and psychic Asher Hartman . Commissioned specifically for the Machine Project&rsquo\;s 17 seat underg round theatre\, PEP! will delight and bewilder the audience with performanc es of mind-melting intensity.

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In a mi x of black light theater and black magic\, PEP! follows two underground ent ertainers\, THE VITAL ORGAN and THE STAR\, as they step in and out of rough and ridiculous political histories\, assisted by their pals\, THE AUDIENCE \, four naive and playful puppets\, LO-PHAT\, DONKEY\, SALAD BAR and STARVA TION luring their live audience deeper into the morass of questions and con frontations that arise from memories of injustice and revolt. PEP! explicit ly leverages an audience&rsquo\;s expectation of diversion and excitement t o explore the relationship of the creative class to privilege and power\, b oth as \; resistors and provocateurs.

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Are you the kind of person who wishes Machine Project was just a littl e more intense\, overwhelming and delirious? Have we got a play for you!

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https://www.indiegogo.com/projec ts/purple-electric-play.

DTEND:20141215 DTSTAMP:20141021T072025 DTSTART:20141031 GEO:34.078137;-118.262864 LOCATION:Machine Project\,1200 N. Alvarado St. \nLos Angeles\, CA 90026 SEQUENCE:0 SUMMARY:Purple Electric Play! (PEP!) UID:361662 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141213 DTSTAMP:20141021T072025 DTSTART:20141108 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Happy Soul\, Sanya Kantarovsky UID:361660 END:VEVENT BEGIN:VEVENT DTEND:20141108T200000 DTSTAMP:20141021T072025 DTSTART:20141108T180000 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Happy Soul\, Sanya Kantarovsky UID:361661 END:VEVENT BEGIN:VEVENT DESCRIPTION:

D.E. May (b. 1952) is an Orego n-based artist active since the early 1970s\, whose work emerged in relatio n to the under-known history of modernist experiment in the Pacific Northwe st. He is a crucial figure in that regional context\, but is also relativel y unknown beyond it. This is the largest exhibition of D.E. May&rsquo\;s wo rk outside of Oregon to date\, and the first introduction of this major art ist&rsquo\;s work to Los Angeles and the Southern California region.

\n< p style="text-align: justify\;">Over a forty-year career\, May has worked t o extend and intensify a range of avant-garde languages\, inventing a parti cular form of abstraction created from the re-use of materials found in the urban environment. Residing in Salem\, Oregon\, the artist exceeds any reg ional frame to engage directly the history of key abstract strategies such as constructivism\, geometric abstraction\, and the monochrome. But the wor k also explores the readymade and collage practice typical of Dada\, or the child-like scale and alternative distribution channels (such as mail art) later explored by Fluxus\, as well as the textual\, archival\, and architec tural tactics central to certain forms of Conceptual art. Indeed\, the work seems to evoke the ghosts of an eclectic but very specific range of canoni cal modernist or postwar artists\, embraced in all their incompatibility an d evident contradiction with each other: Kurt Schwitters and Kasimir Malevi ch\; Joseph Cornell and Joseph Beuys\; the precarious grids of painter Agne s Martin and the aggressive geometric cut-outs of Gordon Matta-Clark\; the notion of a spontaneous \;Art Brut \;elaborated by Jean Du buffet and the \;street aesthetics of the early work of Claes Oldenburg .

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And yet the art of D.E. May also re ferences everyday objects\, simple and useful things\, like tools\, archite ctural shelters\, or maps. With its titles and general spirit\, the work of ten evokes the outdated places and characters found in film noir movies\, o r albums and song titles from our vinyl-record past. Allegorical references to mysterious regions or lands abound\, utopian zones perhaps\, or long-ag o sites that have passed into oblivion. In their construction\, May&rsquo\; s objects also echo the labors characteristic of a range of non-art occupat ions like dressmaking or furniture design or haphazard carpentry.

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Typically small if not miniature in scale\, of ten no larger than an index card or even a postage stamp\, May&rsquo\;s wor k is usually pieced together from weathered cardboard and paper scraps\, fo und detritus altered in almost imperceptible ways. While meticulously handc rafted\, the work usually appears anonymous\, as if created by impersonal f orces of the natural world such as erosion\, staining\, or over-exposure to the sun. The work bases itself in processes of salvage and reuse\, recycli ng the discarded materials of the artist&rsquo\;s home environment into an infinitely variegated language of abstract form.

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Organized as a miniature retrospective--the artist was last the subject of a mid-career retrospective in 2003 in Portland--the exhibition at LA>\;<\;ART includes a range of key early works of the 1980s and 199 0s shown alongside series completed more recently. Some of D.E. May&rsquo\; s earliest salvaged cardboard constructions are present\, acting as histori cal anchors and archival reminders of the aesthetic development that has le d to the recent work. Ranging from gentle grids to organic found materials to precarious architectural models cobbled-together from detritus\, the exh ibition comprises both small and larger-scale works that often hover charac teristically\, and ambivalently\, between complete abstraction and recogniz able objects in andThe exhibition features a recent series of gridded works on paper entitled \;Template Studies\, shown for the first ti me in the 2014 Portland Biennial (organized by former LA>\;<\;ART curat or Amanda Hunt). The \;Template Studies \;are accompanied here by several older series of cutout cardboards simply entitled \;Templates\, like a set of potential stencils that could be used to pr oduce further abstract forms. A new body of work comprising twenty-four min iature layered abstractions\, from an on-going series entitled \;Te stbeds--salvaged materials inlaid upon or incised from other found mat erials--has been produced especially for the LA>\;<\;ART exhibition. It co-exists in the space with a series of older artist books\, miniature con structions\, sculpture\, ephemera\, and rarely- or never-exhibited work bor rowed from major private collections in Oregon\, Los Angeles\, and New York .

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The exhibition is guest-curated by George Baker\, an art critic\, editor\, and art historian based at the Univ ersity of California\, Los Angeles. Three years ago\, Baker visited Oregon under the auspices of a new program initiated by the Ford Family Foundation \, involving a series of studio visits with artists across the state. Baker &rsquo\;s encounter with D.E. May was the starting point of a dialog and co rrespondence that has culminated in the current exhibition of work--the pro duct of a set of interests and passions shared between the artist and the a rt historian.

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 \;

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About the Artist

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D.E. May has been the subject of a mid-career retrospec tive entitled &ldquo\;D.E. May: The Occupations&rdquo\; at Marylhurst Unive rsity near Portland in 2003\, and the solo museum exhibition &ldquo\;The Ar tist as Archivist&rdquo\; at the Hallie Ford Museum of Art\, Willamette Uni versity in 2008. Recently\, May was included in the 2014 Portland Biennial\ , and was a recipient of 2013 Hallie Ford Fellowship in the Visual Arts fro m the Ford Family Foundation. May is represented in Portland by PDX Contemp orary Art.

DTEND:20141213 DTSTAMP:20141021T072025 DTSTART:20141108 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Half Distance\, D.E. May UID:361658 END:VEVENT BEGIN:VEVENT DTEND:20141108T200000 DTSTAMP:20141021T072025 DTSTART:20141108T180000 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Half Distance\, D.E. May UID:361659 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141219 DTSTAMP:20141021T072025 DTSTART:20141108 GEO:34.098385;-118.331264 LOCATION:Tif Sigfrids\,1507 Wilcox Avenue \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:Amboy \, Frances Scholz UID:361656 END:VEVENT BEGIN:VEVENT DTEND:20141108T180000 DTSTAMP:20141021T072025 DTSTART:20141108T160000 GEO:34.098385;-118.331264 LOCATION:Tif Sigfrids\,1507 Wilcox Avenue \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:Amboy \, Frances Scholz UID:361657 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141220 DTSTAMP:20141021T072025 DTSTART:20141115 GEO:34.0452942;-118.2357181 LOCATION:The Box\,805 Traction Avenue \nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Sociopath \, Howard Fried UID:361654 END:VEVENT BEGIN:VEVENT DTEND:20141115T200000 DTSTAMP:20141021T072025 DTSTART:20141115T180000 GEO:34.0452942;-118.2357181 LOCATION:The Box\,805 Traction Avenue \nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Sociopath \, Howard Fried UID:361655 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141220 DTSTAMP:20141021T072025 DTSTART:20141116 GEO:34.102034;-118.321913 LOCATION:Freedman Fitzpatrick\,6051 Hollywood Blvd # 107 \nLos Angeles\, C A 90028 SEQUENCE:0 SUMMARY:Group Exhibition\, Heidi Bucher\, Shimabuku\, Phillip Zach UID:361652 END:VEVENT BEGIN:VEVENT DTEND:20141116T210000 DTSTAMP:20141021T072025 DTSTART:20141116T190000 GEO:34.102034;-118.321913 LOCATION:Freedman Fitzpatrick\,6051 Hollywood Blvd # 107 \nLos Angeles\, C A 90028 SEQUENCE:0 SUMMARY:Group Exhibition\, Heidi Bucher\, Shimabuku\, Phillip Zach UID:361653 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141220 DTSTAMP:20141021T072025 DTSTART:20141108 GEO:34.0978914;-118.3547642 LOCATION:Michael Benevento\,7578/7556 Sunset Blvd. \nLos Angeles\, CA 90046 SEQUENCE:0 SUMMARY:Multiple Inversions in Multiple Versions\, Christian Herman Cumming s\, Miriam Hanks-Todd UID:361649 END:VEVENT BEGIN:VEVENT DTEND:20141108T200000 DTSTAMP:20141021T072025 DTSTART:20141108T180000 GEO:34.0978914;-118.3547642 LOCATION:Michael Benevento\,7578/7556 Sunset Blvd. \nLos Angeles\, CA 90046 SEQUENCE:0 SUMMARY:Multiple Inversions in Multiple Versions\, Christian Herman Cumming s\, Miriam Hanks-Todd UID:361650 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150110 DTSTAMP:20141021T072026 DTSTART:20141108 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:Solo Exhibition\, Jonas Wood UID:361647 END:VEVENT BEGIN:VEVENT DTEND:20141108T200000 DTSTAMP:20141021T072026 DTSTART:20141108T180000 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:Solo Exhibition\, Jonas Wood UID:361648 END:VEVENT BEGIN:VEVENT DESCRIPTION:
&ldquo\;Even whe n you are merely copying\, something new is added\, whether your like it or not.&rdquo\;
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&mdas h\; Gerhard Richter
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Christopher Grimes Gallery is pleased to present a solo exhibition of new paintings and drawings by Scott Short. The Main Gallery will feature an evolution in Short&rsquo\ ;s imagery within his paintings as well as through a series of works on pap er titled &ldquo\;Holbein Flower\,&rdquo\; in which Short appropriates the anamorphic skull from Holbein&rsquo\;s &ldquo\;The French Ambasadors.&rdquo \; The skull is replicated in ink on paper\, ad infinitum\, in a symmetrica l flower formation against a stark black or white background. There is an e legance to Short&rsquo\;s unorthodox approach to abstraction in works such as &ldquo\;Untitled (red)&rdquo\;\, and his process of meticulously paintin g by hand the abstracted markings made by machine furthers his examination of the relationship between the original and the copy\, the mechanical and hand-made\, abstraction and representation.
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The South Gall ery will spotlight a series of 48 portraits\, &ldquo\;Thank you\, Adam West \, For Helping Make Me The Man I Am Today.&rdquo\; In the early 1990s\, Sho rt experimented with the persistent copying and reworking of works by Gerha rd Richter\, including his &ldquo\;48 Portraits.&rdquo\; Returning to this as a point of departure\, Short&rsquo\;s use of Richter&rsquo\;s standardiz ed format\, the seeming uniformity of the portraits\, and his choice of cul tural icons rendered as Batman belies the underlying absurdism of his own c risis of faith in painting and the heroic and functions as a reminder of it s manifestation as banal. \;
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 \;
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Scott Short (b. 1964 Mari on\, OH) lives and works in Vallauris\, France. Short was the subject of a solo exhibition at the Renaissance Society\, Chicago\, IL (2007)\, and his work has been included in the 2010 Whitney Biennial\, New York\, NY\; &ldqu o\;Gerhard Richter and the Disappearance of the Image in Contemporary Art&r dquo\; at the Centro di Cultura Contemporanea Strozzina\, Palazzo Strozzi\, Florence\, Italy and &ldquo\;No information available\,&rdquo\; curated by Francesco Bonami for the inaugural exhibition at Gladstone Gallery\, Bruss els\, Belgium. His works are included in the collections of the Albright Kn ox Art Gallery\, Buffalo\, NY and Leal Rios Foundation\, Lisbon\, Portugal\ , among others.
DTEND:20150103 DTSTAMP:20141021T072026 DTSTART:20141108 GEO:34.0176779;-118.4871763 LOCATION:Christopher Grimes Gallery\,916 Colorado Ave. \nSanta Monica\, CA 90401 SEQUENCE:0 SUMMARY:More and The Same\, Scott Short UID:361646 END:VEVENT BEGIN:VEVENT DTEND:20141108T200000 DTSTAMP:20141021T072026 DTSTART:20141108T180000 GEO:34.0176779;-118.4871763 LOCATION:Christopher Grimes Gallery\,916 Colorado Ave. \nSanta Monica\, CA 90401 SEQUENCE:0 SUMMARY:More and The Same\, Scott Short UID:361651 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150117 DTSTAMP:20141021T072026 DTSTART:20141115 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Rhetoric\, Marco Braunschweiler\, Jibade-Khalil Huffman\, Kate Stec iw\, Martine Syms UID:361644 END:VEVENT BEGIN:VEVENT DTEND:20141115T210000 DTSTAMP:20141021T072026 DTSTART:20141115T190000 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Rhetoric\, Marco Braunschweiler\, Jibade-Khalil Huffman\, Kate Stec iw\, Martine Syms UID:361645 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150110 DTSTAMP:20141021T072026 DTSTART:20141115 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Jorge Pardo UID:361642 END:VEVENT BEGIN:VEVENT DTEND:20141115T200000 DTSTAMP:20141021T072026 DTSTART:20141115T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Jorge Pardo UID:361643 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Wilding Cran Gallery is please d to present \;That&rsquo\;s An Excellent Question! \;a ne w body of work by Canadian painter Chris Cran on view \;November 15&nda sh\; December 27\, 2014. The exhibition marks Cran&rsquo\;s first solo show in Los Angeles.

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That&rsquo\;s An Excellent Question! \;is an extension of Cran&rsquo\;s \; The Chorus Series\, \;which was an earlier body of work that was f irst presented in 2006 in an exhibition entitledNovel\, and again more thoroughly in an \;exhibition in 2011 entitled \;Reading R oom\,both at Tré\;panier Baer Gallery in Calgary\, Alberta.  \; The ongoing series consists of a selection of oval and round paintings t hat each contain a face expressing enjoyment\, surprise\, curiosity\, doubt \, or disdain that looks beyond the periphery of the work itself. \; Th e Chorus portraits are intended to be placed around other works of art (by Cran or others) thereby appropriating those works and engaging them into a larger theatre of viewing\, like the Greek Chorus from which the series is named.

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For this exhibition Cran has c reated 31 new works\, a combination of Chorus portraits and a number of lar ger still life paintings \;to invite the gazes of the &lsquo\;Chorus&rs quo\; and await their \; judgement. The works will float on the gallery walls\, high and low\, like the putti or cherubs in Renaissance and post-R enaissance paintings who also float around and\, like the Greek chorus\, co mment on the main dramatic action.

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Cr an employs a wide-ranging color palette and experiments with textures as we ll as varied techniques to evoke the photographic image. His work explores the construction of personal and cultural identities and perceptual/cogniti ve illusion\, both interests critically underpinned by \;the artist&rsq uo\;s disarming and revelatory sense of humor.

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About Chris Cr an
Chris Cran lives and works in Calgary\, Alberta.&nb sp\; He graduated in 1979 from the Alberta College of Art and Design in Cal gary. Cran has exhibited widely including international exhibitions at the 49th Parallel Gallery\, New York City (1992)\, Taejon Expo 93\, South Korea and the Fourth International Painting Biennial\, Cuenca\, Ecuador (1994).  \;A twenty year survey exhibition entitled \;Chris Cr an &ndash\; \;Surveying the Damage 1977 to 1997\, \;c urated by Clint Roenisch\, was organized by Kelowna Art Gallery to tour nat ionally from 1998 to 2000.  \;A catalogue accompanied the exhibition wi th essays by Dr. Roald Nasgaard and art critic Nancy Tousley. In 2015\, Cra n will have solo exhibitions at Southern Alberta Art Gallery and Art Galler y of Alberta\; and The National Gallery of Canada will be presenting a solo exhibition of his work in 2016.

Cran&rsquo\;s paintings are inc luded in numerous collections\, including \;The National Gallery of Can ada\, Canada Council Art Bank\, Mendel Art Gallery (Saskatoon)\, University of Lethbridge Art Gallery\, Glenbow Museum (Calgary)\, Edmonton Art Galler y\, Nickle Arts Museum (University of Calgary)\, Kenderdine Art Gallery (Sa skatoon)\, Dunlop Art Gallery (Regina)\, the Banff Centre\, Alberta Foundat ion for the Arts\, Art Gallery of Peel (Brampton)\, Art Gallery of Windsor\ , Kelowna Art Gallery and Museum of Canadian Contemporary Art (Toronto). &n bsp\;

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Cran has also ventured into a v ariety of other related activities including teaching art\, curating exhibi tions\, and theatre set design. Cran was inducted into the Royal Canadian A cademy in 2002.  \;He received the ACAD Alumni Award of Excellence in 2 011 and the Doug and Lois Mitchell Outstanding Calgary Artist Award in 2014 .
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DTEND:20141227 DTSTAMP:20141021T072026 DTSTART:20141115 GEO:34.0315;-118.230365 LOCATION:Wilding Cran Gallery\,939 S. Santa Fe Ave. \nLos Angeles \, CA 900 21 SEQUENCE:0 SUMMARY:That's An Excellent Question!\, Chris Cran UID:361547 END:VEVENT BEGIN:VEVENT DTEND:20141115T210000 DTSTAMP:20141021T072026 DTSTART:20141115T180000 GEO:34.0315;-118.230365 LOCATION:Wilding Cran Gallery\,939 S. Santa Fe Ave. \nLos Angeles \, CA 900 21 SEQUENCE:0 SUMMARY:That's An Excellent Question!\, Chris Cran UID:361548 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Patrick V. McGrath Mu& ntilde\;iz \;creates work that responds to consumer media cult ure and the historical use of Christian icons in colonial Latin America.

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&ldquo\;The present work responds to ou r consumerist society and it&rsquo\;s indifference to the global ecological and social injustices. As a painter coming from a Roman Catholic backgroun d and growing up during the 1980&rsquo\;s and 90&rsquo\;s in the island of Puerto Rico\, the oldest colony in the Western hemisphere\, I&rsquo\;m insp ired by pop culture icons\, Christian Iconography and mythological imagery present in Art History\, Tarot and Astrology. These sources provide a set o f universal archetypes that allow me to re-interpret our current socio-econ omic and cultural conditions holistically\, viewing world history as cyclic al and interconnected from an archetypal perspective. In my work I adopt pa inting techniques on canvas and &ldquo\;retablos&rdquo\; reminiscent of Spa nish colonial art. This enables me to emulate earlier indoctrination strate gies and devices from the time of the conquest of the Americas in order to provide historical continuity and a link between the Colonial and the Neo-c olonial narratives. Living in an information age and Inspired by art histor y I recreate intimate 2-D theater stages where I appropriate\, recontextual ize and orchestrate figures from history\, religion\, mythology and pop cul ture into anachronisms\, parodies and satirical narratives that mirror my e xperience of the world today.&rdquo\;

DTEND:20141130 DTSTAMP:20141021T072026 DTSTART:20141107 GEO:34.100466;-118.28998 LOCATION:La Luz de Jesus Gallery\,4633 Hollywood Blvd. \nLos Angeles\, CA 9 0027 SEQUENCE:0 SUMMARY:Sacro Consumo\, Patrick V. McGrath Muñiz UID:361545 END:VEVENT BEGIN:VEVENT DTEND:20141107T230000 DTSTAMP:20141021T072026 DTSTART:20141107T200000 GEO:34.100466;-118.28998 LOCATION:La Luz de Jesus Gallery\,4633 Hollywood Blvd. \nLos Angeles\, CA 9 0027 SEQUENCE:0 SUMMARY:Sacro Consumo\, Patrick V. McGrath Muñiz UID:361546 END:VEVENT END:VCALENDAR