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Craig Krull Gallery is pleased to present Paint is a Thi ng\, a group exhibition curated by Beth Parker. \; This exhibition showcases seven contemporary artists who use paint to create both an objec t and an illusionistic space. \; While these artists embrace the materi ality of paint\, they also depict images and narratives\, allowing the pain tings to become more than purely objects. \; Each piece incites a layer ed read\, with a visceral reaction to the physicality of the surface\, as w ell as a cerebral reaction to the illusion described.

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Chrissy Angli ker scoops and smoothes acrylic paint with the back of a spoon\, creating p ools that drip down rocky surfaces. \; The paintings are a marriage of form and function\, as they are fluid in both brush marks and subject matte r. Her energetic strokes\, reminiscent of abstract expressionism\, add move ment to her paintings\, so that the water swirls\, and the flowers seem to be perpetually shrinking and growing.

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Keenan Derby constructs his p aintings with a mixture of acrylic and sand. \; Occasionally\, he&rsquo \;ll add in a little metallic paint\, so that the dark\, sea-like surfaces glimmer. \; Each layer is contradicted by the next\, to the point where the painting&rsquo\;s ripples really do seem to be on the surface of a dee p abyss.

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The characters in Roast Hoggmann&rsquo\;s paintings have o ne step in our world and one within that of the frame. \; Windows are g lossy\, jewelry is metallic\, and frosting is matte. \; As he layers pa int\, he sculpts and cuts it\, adding and subtracting until each element fi nds its natural place in space. \; The vulnerable figures are built up until they seem almost touchable\, inviting us to share in their humorous a nd sweetly sad predicaments.

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Riin Kaljurand collages dried layers o f acrylic and household paint\, which she has manipulated with traditional handcraft techniques such as basket weaving\, knitting and crocheting.  \; She uses these techniques to reference jobs that women were required to do in the former Estonian Soviet Socialist Republic\, where Kaljurand was b orn. \; She questions this socially constructed idea of femininity\, ho wever\, by then depicting women from Soviet Woman (a magazine from Soviet Estonia) working in traditionally masculine milieus like farms\, fa ctories\, and construction sites.

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Squeezing\, weaving\, and ploppin g\, Caroline Larsen plays with paint until it is more than just the image t hat it&rsquo\;s describing. \; The cacti and succulents on front lawns coil like yarn\, and the pointed leaves wave off the surface as though they are being blown by wind. Car crashes and sinking boats are depicted in pai ntings woven entirely of thick single pigments squeezed like frosting. &nbs p\;The textile-like surface veils the tragedy so that we may focus on the p aint application\, such as a cadmium ember suspended in a night sky.

\n< p>Mark Posey pours acrylic onto panels\, creating a hilly terrain that he t hen covers with oil and spray paint. \; Bouquets\, tabletops\, trash-st rewn yards\, precarious piles of stones\; Posey applies a cubist perspectiv e to each scene he paints. \; The wobbly subjects defiantly ignore conv entional perspective and their thick edges catch the light\, playfully remi nding us that they are built on a flat picture plane.

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With close in spection\, Dominic Terlizzi&rsquo\;s painted images dissolve into a mosaic of cast acrylic objects. \; Some of these shapes are immediately recogn izable- the pretzels\, Goldfish\, and looped ends of ribbons- and some are ambiguous blocks of color\, or shapes that\, an artist statement divulges\, come from homemade bread.  \;His paint marks are truly small thing s\, &ldquo\;a found common object alphabet&rdquo\;\, which are applied to a surface\, serving to transform &ldquo\;minutia into grandeur.&rdquo\;

DTEND:20160820 DTSTAMP:20160630T002139 DTSTART:20160709 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Paint is a Thing\, Dominic Terlizzi\, Mark Posey\, Caroline Larsen\ , Riin Kaljurand\, Roast Hoggmann\, Keenan Derby\, Chrissy Angliker UID:422350 END:VEVENT BEGIN:VEVENT DTEND:20160709T190000 DTSTAMP:20160630T002139 DTSTART:20160709T170000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Paint is a Thing\, Chrissy Angliker\, Keenan Derby\, Roast Hoggmann \, Riin Kaljurand\, Caroline Larsen\, Mark Posey\, Dominic Terlizzi UID:422351 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Control \;uti lizes a conflation of techniques between interactive media and formal gener ation to produce a space which engages interface as a domestic and cultural condition. \;The installation exploits the ubiquitous distribution of intelligent agents as daily mediators of our environment and lives as a dev ice to rethink surface and tectonic as instruments in service to both human and inhuman agencies. \;Eschewing the urge to treat surveillance as in vasive and design towards camouflage or isolation\, \;Control& nbsp\;instead embraces the narcissistic and exhibitionist qualities emergin g in contemporary society to explore an aesthetic based on temporality and localized coherence (fiction) within a mutable field.

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M. Casey Rehm founded Kinch as a design and algorithmic consulting studio. \;The off ice&rsquo\;s work spans architectural design\, interactive media\, robotic software development\, data visualization and algorithmic consulting. \ ;The studio currently focuses on projects driven by the use of non-human in telligent agents to mediate and amplify the relationship between the digita l\, analog\, and the human. \;In addition to his own work Casey&rsquo\; s expertise has also been utilized by disparate fields from fashion design to video game design. \;The studio reconsiders the role of the designer from someone who generates fixed objects or finalized realizations\, to so meone who produces adaptive and extensive systems which can continuously ge nerate new futures through response to human and non-human agencies.

\n< p>M. Casey Rehm received a MSAAD from Columbia University in 2009 and his B ARCH from Carnegie Mellon University in 2005. He has over 10 years of archi tectural experience\, working for firms in New York\, Los Angeles\, Berlin\ , and London prior to opening Kinch. \;His work has been exhibited nati onally and internationally and featured in several publications. \;In a ddition to his professional experience\, Casey has been a full time faculty member at Rensselaer Polytechnic Institute\, assisted studios at Columbia University\, the University of Pennsylvania\, and the Pratt Institute.  \;Additionally he has taught workshops in conjunction with Eyebeam in New Y ork. \;Currently he teaches graduate design studios and seminars in arc hitecture\, programming and robotics in design at SCI-Arc in Los Angeles. DTEND:20160731 DTSTAMP:20160630T002139 DTSTART:20160701 GEO:34.0432978;-118.2331044 LOCATION:SCI-Arc Exhibitions\,Southern California Institute of Architecture 960 E. Third St.\nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Control\, M. Casey Rehm UID:422208 END:VEVENT BEGIN:VEVENT DTEND:20160701T210000 DTSTAMP:20160630T002139 DTSTART:20160701T190000 GEO:34.0432978;-118.2331044 LOCATION:SCI-Arc Exhibitions\,Southern California Institute of Architecture 960 E. Third St.\nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Control\, M. Casey Rehm UID:422209 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ruth Bachofner Gallery is plea sed to present an exhibition of new paintings by San Francisco-based artist Gary Edward Blum. There will be a reception for the artist Saturday\, July 30\, 5-7 PM.

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In this new body of wor k\, Gary Edward Blum continues his exploration of balance and dependent opp osition. Utilizing a mixture of realism and minimalist abstraction\, Blum c reates a narrative between pictorial reality\, artistic process and formal composition. The result is at once playful in its practice but earnest in e xecution.

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Blum structures paintings a round a series of grids that set into play a discourse between formal proce ss and personal narrative. His gritty\, buff backgrounds provide an archite ctonic framework for found objects that are at once still life\, autobiogra phical record and instigators of compositional tension and examination. Pai nt swatch cards are rendered using trompe l'oeil\, as is the painted tape h olding the cards in place. Other 'incidental markings' such as more paint s watches\, finger prints\, and daubs of paint are carefully placed on the gr idded fields comprised of hard edge linework and opaque quadrants of color. The seemingly casual\, pin-board placement of objects are in reality caref ully considered and strategically placed by Blum. These items are at once i ndicators of the artist's creative process and formal elements in the paint ing.

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&ldquo\;The use of trompe l&rsqu o\;oeil challenges the distinction between art and life and sheds light on the way in which representation is translated from experience\,&rdquo\; Blu m states. &ldquo\;Like miniature paintings\, these tangible bits of paper o ften mimic the abstract passages and gridded backgrounds found in the compo sition. By employing divergent styles to create a picture within a picture\ , my hope is that the viewer comes away from my work with the understanding that oppositions can exist harmoniously in the same space.&rdquo\;

DTEND:20160903 DTSTAMP:20160630T002139 DTSTART:20160730 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:The Silence Around You\, Gary Edward Blum UID:422192 END:VEVENT BEGIN:VEVENT DTEND:20160730T190000 DTSTAMP:20160630T002139 DTSTART:20160730T170000 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:The Silence Around You\, Gary Edward Blum UID:422193 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ruth Bachofner Gallery is plea sed to present an exhibition of paintings by Tony Beauvy. There will be a reception for the artist Saturday\, July 30\, 5-7 PM

\n< p style="text-align: justify\;">Tony Beauvy is a Los Angeles-based painter who received his M.F.A. from UCLA. The exhibition brings together a series of abstract paintings that Beauvy achieves by working out of the unconsciou s. His improvisational practice is as much about breaking down the surface as it is building it up. The large scale of the paintings creates environme nts that echo a particular sense of glowing grittiness inspired by the arti st's surroundings. Beauvy grew up in Los Angeles and like in his youth\, hi s time is split between his home in Echo Park\, an industrial studio space and surfing along the coast. The combination of his buoyant\, luminous pale tte and roughly hewn surfaces reverberates with the layered paradoxes of th e city as he experiences it.

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For Beau vy\, resolution is achieved in the undetermined spaces of his paintings. He engages in scraping\, pouring\, and sanding which move the paintings towar d a balance of refinement and roughness. Fibrous drips of Iridescent paint glows through more opaque fields and offers a series of contrasts that rang e from weathered to refined. The sense of abandonment and dissolving within the flowing areas of paint embrace the unknowable\, which is where Beauvy sees the paintings reaching their highest potential. This interceding space \, where the image dematerializes\, yet holds interest has the most possibi lity and interest for both viewers and the artist.

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&ldquo\;My paintings are born out of process and practice\, a ddition and subtraction\,&rdquo\; the artist states. I want to push the pai nting almost to its failure point &ndash\; the point at which it is exhaust ed is where I find the most possibility. In my paintings\, a sense of place appears and disappears. A constant unearthing of surface creates a geograp hy that is not concrete\, rather flexible.&rdquo\;

DTEND:20160903 DTSTAMP:20160630T002139 DTSTART:20160730 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Paintings\, Tony Beauvy UID:422190 END:VEVENT BEGIN:VEVENT DTEND:20160730T190000 DTSTAMP:20160630T002139 DTSTART:20160730T170000 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Paintings\, Tony Beauvy UID:422191 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Concurrently on view in the Thinkspace project room are new works by Canadian artist and street muralis t Troy Lovegates in \;Tales From The Riverbank. \;Lovegate s\, AKA Other\, creates intuitively from a wealth of collected impressions and unexpected associations. He allows his pieces to come together unexpect edly from these collected "patches and chunks." His works are meticulously rendered\, however\, and strategically chaotic. Graphically manifold\, they combine unlikely elements and figures\, held together by his use of linear detail and technicolor palettes. Combining figurative realism with graphic patterns and abstractions\, Lovegates creates a world of imaginative\, lar ger-than-life fictions.
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With a knack for the use of found materials and the unification of wildly disparate elements\, both material and aesthetic\, Lovegates uses everything from spray paint and oil stick to acrylic and ink to create his paintings. His sculptural works convey his s ignature aesthetic with hand-carved wood pieces\, bringing his paintings to dimensional life as objects. A self-described "collector of lost souls\," the powerfully weathered people in his imagery are often real\, captured th rough photographs and observation taken while on his travels. Inspired by h is own dreams and nightmares\, Lovegates' works are emotive arrests of an a we-inspiring imagination.
DTEND:20160716 DTSTAMP:20160630T002139 DTSTART:20160625 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Tales from the Riverbank \, Troy Lovegates UID:422187 END:VEVENT BEGIN:VEVENT DTEND:20160625T210000 DTSTAMP:20160630T002139 DTSTART:20160625T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Tales from the Riverbank \, Troy Lovegates UID:422188 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Thinkspace is pleased to pre sent \;New Works\, featuring artists Jeremy Fish and Jim House r. Two phenomenally influential and distinctively stylized artists\, Fish\, and Houser both came to their love of art making through drawing\, music\, and skate culture. Fish\, originally from Albany New York\, moved to San F rancisco in the 90's to set up camp at the age of 19 in North Cali's skate mecca\, eventually studying screen-printing and painting\, and completing a degree at the Art Institute of San Francisco. He went on to work commercia lly as an illustrator\, designer\, and art director\, contributing to appar el companies and magazines like DLX\, Think\, Thrasher\, Juxtapoz\, and Sla p. Houser\, an unmistakably iconic artist\, known for the concision and poi gnancy of his graphic style\, is self-taught and based out of Philadelphia. He began his successful career\, much like Fish\, in search of a creative outlet linked to the music and subculture in which he was immersed at the t ime. Since Houser's pivotal discovery of painting\, his complex mixed-media works and installations have been exhibited all over the world.
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Fish and Houser's styles are respectively singular and distinct\, bu t both share some commonalities\, including an illustrative sensibility tha t can only be cultivated through years of compulsive drawing. Each has take n their foundation in graphic paper-based imagery to new dimensional depths \, exploring ways in which to translate the two-dimensional physically\, sc ulpturally and through installation. They both share a personal and emotive approach to creating imagery that conveys both individual struggles and un iversally relatable themes\, coupled with a poetic knack for allegory and s torytelling. Fish's cleverly constructed animal object hybrids strike a bal ance between the playful and the macabre\, while Houser's collage compositi ons are selectively systemic worlds of personal symbolism\, revealing a lim itless interconnectivity.
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Inspired by children's books and cartoons from the 70s and skateboard graphics from the 80s and 90s\, Jeremy Fish's world is both playful and dark\, inhabited by animals\, phenomenal graphic motifs\, cool cars\, and classic vans. He c reates a whole cast of animal characters inspired by the cities and scenes he loves and the personal and human conflicts he observes. Last year\, Fish became San Francisco's City Hall's first-ever artist in residence\, creati ng a body of work based on the iconic city he has called home since 1994. I n celebration of its centennial\, he created 100 pieces of mixed-media draw ing based on San Francisco's urban history and its civic hub\, which were e xhibited in a special project in November entitled\, \;O Glorious C ity. \;If that wasn't enough\, the city further showed their thank s for Fish by proclaiming November 19th \;to be "Jeremy Fish Day" from here on out. In this new body of work for Thinkspace\, \ ;Los Angelurkers \;is a return to a more lighthearted Fish as he c elebrates everything he loves about Los Angeles\, in spite of his steadfast North Cali allegiances. In an attempt to cut out any unnecessary negativit y from his life\, following his recovery from a serious brain aneurysm in 2 014\, Fish has spent most of this year hunting down this imaginative world of mythical creatures from the recesses of his ingeniously offbeat mind\, r evealing a cool and playful world of fantasy and nostalgia. \;

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Jim Houser creates beautifully concise and gr aphic works with a superabundance of information and imagery. Known for his use of collage\, assemblage\, and installation techniques\, he is inspired by the combination of drawing\, painting\, and language. Houser converts a ssembled compositions of two-dimensional materials into more complex object s\, panels\, or sculptures. He begins with individual paintings on paper wh ich he then assembles into composites. An artist who works with a poetic st ream of consciousness\, his pieces evolve from edited outpourings of person al associations to reveal poignant visual narratives and meditations. The s implicity of Houser's palette effectively offsets the intricacy of his clea n\, linear graphics\; blood and the sea inspire his preference for the prim ary combination of blue and red\, for instance. This elemental succinctness allows Houser to channel complex themes\, concepts\, and psychological sta tes through a graphically striking restraint. Inspired by everything from c hildren's art and science fiction to music and disease\, Houser explores th e interstitial spaces that tenuously separate beauty from disaster. His des ire to "celebrate the negative" through his works reveals an appreciation f or the thematic proximity of devastation to joy\, and of gain to loss. With obscure and often cryptic references to recurring words and motifs\, House r's pieces reveal a patchwork of beautifully interrelated ideas and fixatio ns. Houser has done commercial work for the likes of Toy Machine\, designar ium\, and Nike and has exhibited in museums and galleries throughout the Un ited States\, Europe\, Australia and Brazil.

DTEND:20160716 DTSTAMP:20160630T002139 DTSTART:20160625 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:New Works\, Jim Houser\, Jeremy Fish UID:422185 END:VEVENT BEGIN:VEVENT DTEND:20160625T210000 DTSTAMP:20160630T002139 DTSTART:20160625T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:New Works\, Jeremy Fish\, Jim Houser UID:422186 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For his summer residency at LA CE\, Los Angeles based artist \;Jibade-Khalil Huffman& nbsp\;presents a newly commissioned multimedia installation that explores t he subject of spectatorship\, systems of display\, and narrative making.

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Verse Chorus Verse \;is comprised of a suite of formally connected works concerned wit h the question of perception by exposing and foregrounding systems of image -making and storytelling. Here\, the projector serves as a stand-in for the act of uncovering certain narratives. Huffman layers and complicates metho ds of display in order to create a space that favors no one part\, where hi erarchies are leveled\, and the process of storytelling bears equal weight to the story told. \;Colliding various strategies&mdash\;the tracking s hot in Hollywood cinema\, the compacted narrative of music videos\, and the nostalgic voice of advertising and television&mdash\;Verse Chorus Vers e \;considers the way in which form and mechanisms of display cons truct their own narratives\, and shape how and what we collectively consume as the only story.

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Drawing on his ba ckground in poetry\, Huffman&rsquo\;s work plays with the meaning-making ca pabilities of image and text. His videos experiment with timing and pace to build suspense and skew expectations\, while his poetry challenges syntax and style to explore the malleability and inaccuracy of language. His recen t works appropriated \;familiar cinematic strategies\, including the ti tle sequence\, subtitles\, music cues\, camera zoom-ins\, that hold the sto ry together and strategically evoke emotion. \;Read more \;about t he artist \;here.

Curat ed by LACE Assistant Director Shoghig Halajian.

DTEND:20160814 DTSTAMP:20160630T002139 DTSTART:20160629 GEO:34.10119;-118.331831 LOCATION:Los Angeles Contemporary Exhibitions (LACE)\,6522 Hollywood Blvd. \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:Verse Chorus Verse\, Jibade-Khalil Huffman UID:422182 END:VEVENT BEGIN:VEVENT DTEND:20160626T220000 DTSTAMP:20160630T002139 DTSTART:20160626T190000 GEO:34.10119;-118.331831 LOCATION:Los Angeles Contemporary Exhibitions (LACE)\,6522 Hollywood Blvd. \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:Verse Chorus Verse\, Jibade-Khalil Huffman UID:422183 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160827 DTSTAMP:20160630T002139 DTSTART:20160715 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Brain Multiples at 25 UID:422180 END:VEVENT BEGIN:VEVENT DTEND:20160715T200000 DTSTAMP:20160630T002139 DTSTART:20160715T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Brain Multiples at 25 UID:422181 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160730 DTSTAMP:20160630T002139 DTSTART:20160708 GEO:34.098048;-118.3543467 LOCATION:ltd los angeles\,7561 Sunset Blvd. \nLos Angeles\, CA 90046 SEQUENCE:0 SUMMARY:Wacking the Piñata\, Alison Veit\, Tschabalala Self\, Anja Salonen\ , Rachel Mason\, Mariah Garnett\, Sarah Faux\, Cedric Fargues\, Debora Delm ar Corp.\, Mira Dancy\, Jennifer Chan UID:422166 END:VEVENT BEGIN:VEVENT DTEND:20160708T210000 DTSTAMP:20160630T002139 DTSTART:20160708T190000 GEO:34.098048;-118.3543467 LOCATION:ltd los angeles\,7561 Sunset Blvd. \nLos Angeles\, CA 90046 SEQUENCE:0 SUMMARY:Wacking the Piñata\, Jennifer Chan\, Debora Delmar Corp.\, Mira Dan cy\, Cedric Fargues\, Sarah Faux\, Mariah Garnett\, Rachel Mason\, Anja Sal onen\, Tschabalala Self\, Alison Veit UID:422167 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Von Lintel Gallery is pleased to present new work by New York artist \;Joseph Stashkevetch. The exhib ition marks the artist&rsquo\;s fifth with the gallery.

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Joseph Stashkevetch is known for his realistic and richl y textured drawings rendered in conté\; crayon on rag paper. In a str iking expansion\, the artist's new compositions frequently disturb the two- dimensional plane\, challenging our acceptance of flat\, three-dimensional imagery and engaging the paper as an active participant in the unfolding dr ama. The sculptural works collage multiple drawings\, the roiled surfaces o bscuring and exposing images in counterpoint..

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In addition to using his own photographs and memories as source m aterial\, Stashkevetch notably appropriates wallpaper patterns of nature\; referencing a fundamental need to connect to an environment from which we h ave become increasingly divorced. The mechanical repetition of artificial f lora and fauna falls away in delicately exhausted folds to reveal some of t he less savory aspects of industrialization and economic &ldquo\;growth.&rd quo\;

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The monumental\, ten-foot &ldqu o\;All You Can Eat&rdquo\; is a literal pile-up of iconography referencing subjects Stashkevetch has previously explored. The scene is a totemic parad e of western hubris and consumerism that cracks and peels to reveal an anti que wallpaper panorama of China.

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The primarily monochrome works blend the graphic precision of photography with the expression of marks that can only be made by hand. Working with large-f ormat watercolor paper\, Stashkevetch builds his images gradually\, alterna tely washing\, rubbing\, sanding and scraping the paper. With a narrow set of tools&mdash\;carbon\, paper\, water&mdash\;Stashkevetch imbues his drawi ngs with preoccupations of fragmented expectations and disappointment\, the fragility of dreams and the irresistible consequences of a materialistic s ociety.

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&ldquo\;There is a distin ct duality in the subjects he chooses to represent\, shifting from natural forms to human-made forms both celebrated and discarded. &hellip\;They reve al a beautifully rich surface and evidence of the artist&rsquo\;s patient a nd meticulous hand\, rewarding us in a way that realist work often does not when examined closely.&rdquo\;

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&mdash\;Deborah Rickman\, Oxford University Press

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Joseph Stashkevetch was born in 1958. Recent solo exhibitions include &ldquo\;Epic&rdquo\; at the Denver Art Museum in 2014. His work is included in numerous private and public collections including the Whitney M useum of American Art\, New York\; the San Francisco Museum of Modern Art\; the Museum of Fine Arts\, Houston\; Dallas Museum of Art and the Denver Ar t Museum. He has been reviewed by \;Art in America\, \;The New Yorker\, \;The New York Times \;and the  \;Los Angeles Times Magazine. Additionally\, his work has frequent ly been featured in \;Architectural Digest \;and \;Elle Dé\;cor. The artist lives and works in New York City.

DTEND:20160831 DTSTAMP:20160630T002139 DTSTART:20160625 GEO:34.0335131;-118.3764207 LOCATION:Von Lintel Gallery\,2685 S. La Cienega Blvd. \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Joseph Stashkevetch UID:422163 END:VEVENT BEGIN:VEVENT DTEND:20160625T200000 DTSTAMP:20160630T002139 DTSTART:20160625T180000 GEO:34.0335131;-118.3764207 LOCATION:Von Lintel Gallery\,2685 S. La Cienega Blvd. \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Joseph Stashkevetch UID:422164 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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This seminar is designed to teach the cultural producer how to BYD: BUILD YOUR DREAM.

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Learn what artists have in common with cult leaders and use the ir tips &\; tricks to cultivate a following! Stop self-sabotaging and st art to BYD today. Proté\;gé\;s will learn (and be subject to) brainwashing techniques\, aesthetic overhauls\, manipulatin g group dynamics\, and harnessing the awesome power of one&rsquo\;s own neu roses! This workshop will require your physical involvement in art making\, writing\, public speaking\, improvisation\, public humiliation\, group cri tique\, group movement\, and so much more!

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DTEND:20160714T220000 DTSTAMP:20160630T002139 DTSTART:20160714T200000 GEO:34.078137;-118.262864 LOCATION:Machine Project\,1200 N. Alvarado St. \nLos Angeles\, CA 90026 SEQUENCE:0 SUMMARY:Be the Cult Leader You Wish to Follow: A Workshop for Artists\, Kim Ye UID:421988 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160909 DTSTAMP:20160630T002139 DTSTART:20160728 GEO:34.0697041;-118.4047714 LOCATION:Gagosian Gallery Beverly Hills\,456 North Camden Drive \nBeverly H ills\, CA 90210 SEQUENCE:0 SUMMARY:Prints and Photographs\, Ed Ruscha UID:421986 END:VEVENT BEGIN:VEVENT DTEND:20160728T200000 DTSTAMP:20160630T002139 DTSTART:20160728T180000 GEO:34.0697041;-118.4047714 LOCATION:Gagosian Gallery Beverly Hills\,456 North Camden Drive \nBeverly H ills\, CA 90210 SEQUENCE:0 SUMMARY:Prints and Photographs\, Ed Ruscha UID:421987 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160909 DTSTAMP:20160630T002139 DTSTART:20160728 GEO:34.0697041;-118.4047714 LOCATION:Gagosian Gallery Beverly Hills\,456 North Camden Drive \nBeverly H ills\, CA 90210 SEQUENCE:0 SUMMARY:Books & Co. \, Ed Ruscha UID:421984 END:VEVENT BEGIN:VEVENT DTEND:20160728T200000 DTSTAMP:20160630T002139 DTSTART:20160728T180000 GEO:34.0697041;-118.4047714 LOCATION:Gagosian Gallery Beverly Hills\,456 North Camden Drive \nBeverly H ills\, CA 90210 SEQUENCE:0 SUMMARY:Books & Co. \, Ed Ruscha UID:421985 END:VEVENT BEGIN:VEVENT DESCRIPTION:

September 25\, 2016 - January 8\, 20 17

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Work Over School \;sheds new light on the idea of t he self-taught artist by examining the work of nine established and emergin g artists who have developed great conceptual and technical skill through n ontraditional means. Combining their training in other professional fields with their own artistic investigations\, these artists produce a dynamic ra nge of works in painting\, metal\, sculpture\, and ceramics that embody a r everence for materials and commitment to process and technique. Curated by independent curator jill moniz.

DTEND:20170108 DTSTAMP:20160630T002139 DTSTART:20160925 GEO:34.062177;-118.3555702 LOCATION:Craft and Folk Art Museum\,5814 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Work Over School: Art From the Margins of the Inside\, Work Over Sc hool UID:421968 END:VEVENT BEGIN:VEVENT DTEND:20160924T210000 DTSTAMP:20160630T002139 DTSTART:20160924T180000 GEO:34.062177;-118.3555702 LOCATION:Craft and Folk Art Museum\,5814 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Work Over School: Art From the Margins of the Inside\, Work Over Sc hool UID:421969 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A survey of the work of pioneering fiber artist Kay Sekimach i from the 1960s to today drawn from the collection of Forrest L. Merrill. With an economic approach to the use of color and pattern\, Sekimachi&rsquo \;s sculptural forms highlight the structure of her pieces and emphasize th e natural properties of the materials she uses.

DTEND:20170108 DTSTAMP:20160630T002139 DTSTART:20160925 GEO:34.062177;-118.3555702 LOCATION:Craft and Folk Art Museum\,5814 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Kay Sekimachi: Simple Complexity\, Kay Sekimachi UID:421966 END:VEVENT BEGIN:VEVENT DTEND:20160924T210000 DTSTAMP:20160630T002139 DTSTART:20160924T180000 GEO:34.062177;-118.3555702 LOCATION:Craft and Folk Art Museum\,5814 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Kay Sekimachi: Simple Complexity\, Kay Sekimachi UID:421967 END:VEVENT END:VCALENDAR