BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20150207 DTSTAMP:20141225T200749 DTSTART:20150110 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Paintings\, Bill Jensen UID:368514 END:VEVENT BEGIN:VEVENT DTEND:20150110T200000 DTSTAMP:20141225T200749 DTSTART:20150110T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Paintings\, Bill Jensen UID:368515 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;INTRODUCTION TO  \;&lsquo\;AFFECTIVE MEMORY WORK: THE CAGE\; CLASSICAL CONDITIONING\, THE ANIMAL EXERCISE (CAT IN HEAT) \, THE &ldquo\;MAN-MAKER&rdquo\;\, SENSE MEMORY\, AND REPRESENTING THE REPR ESENTATION OF REPRESENTING THE REPRESENTATION OF REPRESENTING THE REPRESENT ATION OF&hellip\;OF PRODUCTION (PART 1)&rsquo\;.&rdquo\;
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Richard Telles presents a new exh ibition by Dan Finsel\, an immersive installation featuring a single-channe l video\, a sound-emitting sculpture\, and a series of color photographs. B eing Finsel&rsquo\;s second installment at the gallery\, many formal echoes can be found from his first\, most immediately in the treatment of the clo set doors and skylights. In a move of redaction\, black T.V. paint replaces the patterned colors\, while black plexiglass encloses the formerly painte d skylights. One also finds formal echoes going further back: the space is covered in a Rosco brand black &ldquo\;show&rdquo\; floor\, referencing Fin sel&rsquo\;s first solo exhibition at Parker Jones Gallery\, Los Angeles in 2010\, which featured the same &ldquo\;show&rdquo\; floor\, but in white. Such formal and conceptual allusions only multiply over time through each e xhibition to the next. Yet\, this installation most pointedly serves as an introduction to a planned series\, wholly entitled &ldquo\;Affective Memory Work&rdquo\;¹\;\, a continued exploration of the eponymous Stanislavsk ian and Strasbergian method acting techniques&mdash\;not only as they relat e to the psychological and cultural conditions of production in performance \, film/video and art objects\, but through the subjective lens of represen ting production itself. \; As such\, this exhibition should be seen as part of an imagined\, but yet to be fully conceived project\, that toys wit h the convention of a &lsquo\;finished&rsquo\; presentation\, thus function ing as an introduction.
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The conceptual centerpiece of the exhibition and the starting point for Finsel&rsquo\;s project is a video e ntitled Affective Memory: (A / The Cage)²\;. It is the first of a serie s in which each video focuses on a different &ldquo\;personal&rdquo\; objec t\, thus regarded an &ldquo\;Affective Memory Object&rdquo\;³\;\, befor e depicting an ostensibly choreographed performance by the artist\; in this iteration\, the object in question is a small cage. Using method-acting te chniques in concert with the &ldquo\;Affective Memory Object&rdquo\;\, Fins el depicts a durational and rigorous study of the self: on one hand\, its p hysically conditioned associations to emotional display as it relates to &l dquo\;Affective Memory Recall&rdquo\;4 \;and classical condi tioning&mdash\;which entails him (the actor) recalling a personal event fro m his experience\, encoding a conceivably related emotional gesture to that experience&mdash\;and on the other\, drawing from that &lsquo\;role&rsquo\ ; and codified gesture within the performance to depict a conglomerated &ld quo\;dance&rdquo\; between agency and automatism. He calls into question ou r choices of movement in general\, suggesting that we are simply following a scripted depiction and reaction of and to emotion. Each performance begin s with a very codified representation of a particular emotion\, and from th is Finsel engages with what he assumes is a natural series of physical refl exes\, thus hinting to our nature as emotionally conditioned vehicles. Put in other terms\, his recollection is trained through a sensorial memory (re al or imagined) of the &ldquo\;Affective Memory Object&rdquo\;\; or in this case\, the cage\, thereby producing a mimetic &ldquo\;representation&rdquo \; of his emotions as they were in the &ldquo\;original experience&rdquo\;.
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The conceptual underpinnings to the video continue outwa rd and throughout the exhibition\, by use of the endless black backdrop\, a reactive\, and recurring material theme in the physical and temporal space of the viewer. This supplants the green screens in some video works of Fin sel&rsquo\;s past\, bringing about an almost completely different space for mental projection. His use of the &ldquo\;un-activated&rdquo\; green scree n had allowed for the metaphoric representation of an insinuated space that the viewer could &ldquo\;hypothetically&rdquo\; project upon the video wit h a scene\, setting\, or context in mind. The inherent quality of the black backdrop\, typically used in theater\, film and television production\, ho wever\, is inactivation\, appearance through disappearance\, serving as ano nymity\, as a literal highlight to the acting or emotional display. Both th e green screen and the black backdrop\, through different superficial neutr alities\, tightened the viewer&rsquo\;s focus on the performer. Yet\, the b lack backdrop is inherently a space for mental projection by the viewer\, w hereas the green screen is there to be &ldquo\;keyed&rdquo\; out in order f or a scene to be inserted behind the performer by the artist or filmmaker.& nbsp\; Without any image being &ldquo\;keyed&rdquo\; in though\, it still r emains a potential space for a viewer&rsquo\;s mental projection\, except t his time\, with its technical illusion machine made overt. Finsel also mode led his performances for each of these two backgrounds. In front of the gre en screen\, he performed an exaggeration\, a version of himself with a fict ional biography\, while in the current video series he is performing &ldquo \;authenticity&rdquo\;. He is not performing a &ldquo\;character&rdquo\; or caricature\, but rather an attempt to perform the &ldquo\;self&rdquo\;: an obviously futile notion here\, due to the blurred lines of identity in the performance of any &ldquo\;self&rdquo\;.
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The black backg round impinges into physical space as well\, and into film production itsel f: the black flooring and paint that partially comprise this exhibition are products of Rosco\, still best known for the products it originally manufa ctured: filters for entertainment lighting. Finsel began using Rosco Green Screen paint in his first series of videos starting in 2008\, and again\, u sed this flooring for his installation: \; &ldquo\;I could be anybody\, I could be somebody&rdquo\;\, 2010. \;
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The objects t hat populate the exhibition&mdash\;the photographs depicting digitally mani pulated c-stands\, as well as clashes between Rosco black paint and Finsel& rsquo\;s feet&mdash\;extend the conversation to the generalized notion of w hat is seen and unseen in production\, however alongside individualized con cepts of the self and how Finsel (the artist) must disillusion himself from the roles he performs. The sculpture on view\, based on a Wenger Corporati on portable stage setup\, comically literalizes the psychic density that un derlies &ldquo\;Affective Memory Recall&rdquo\;\, by emitting audio from Fi nsel&rsquo\;s performance &ldquo\;Animal Exercise (Cat in Heat)&rdquo\;. Th e &ldquo\;Animal Exercise&rdquo\;\, another famed exercise of Strasberg\, a sks the actor to pick an animal that might relate to the character they are to play. By starting as this animal she is supposed to metamorphosize her performance of that animal into the assigned character\, thus providing yet another system of associative mimicry.
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The photographs o f C-stands\, digitally manipulated into different formations\, bearing the appearance not unlike those from high-budget television commercials of silv ery industrialized products\, as well as the fetishistic\, reflective sheen of of various cinematic cyber-oriented tropes\, also recall the mandala pa intings from Finsel&rsquo\;s last show here at the gallery. This time\, suc h filmic production elements that create and undergird the production of th e video\, are contorted through Finsel&rsquo\;s subjective matrix. Anachron istically placing what starts as a &ldquo\;document of a tool or product of production&rdquo\; \; (akin to Christopher Williams) into a surrealist ic trope filtration process\, Finsel assumes that the genre of art making t hat centers on the &ldquo\;revealing of the hidden elements of production&r dquo\; is thus then objectified as a process in and of itself. \; Remov ing himself from the conversation in some regards\, we then begin to locate Finsel&rsquo\;s tendency for Role Play in the creation of the objects them selves. Note the subtitle to this particular series: \; &ldquo\;Represe nting the representations of representing the representations of representi ng the representations of &hellip\;of production&rdquo\;.
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The images of the Rosco brand black TV paint\, aforementioned that it has been used to paint the large closet doors\, the frames for the photographs\ , and sculpture\, which splashes upon the performers&rsquo\; feet\, brings the nexus of the production elements and the body to the fore\, creating a physical reaction\, in tandem to the mental one&mdash\;between the Affectiv e Memory Object and personal memory&mdash\;which can only be made manifest through the artist&rsquo\;s performance. \; Thus\, again in slight refe rence to his painted photographs of his last exhibition\, though literally in this case\, Finsel spills the branding color upon himself in a reflexive gesture\, noting metaphorically the inescapable contusive qualities\, (tha t if we reach far enough metaphorically) and the black screen representing &ldquo\;conditioning&rdquo\; itself&hellip\; shit. \; This situation\, the situation is\, it&rsquo\;s really a situation where I can talk about wh at happened but it ultimately doesn&rsquo\;t matter because it happened5.
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My general interest in Method Acting is because if I had the chance\, I would sleep sleep sleep with Daniel Day Lewis 6\, I would become his life partner\, and spend the rest of my days m aking shoes and drinking tea on the Irish Countryside\, both in and of itse lf as a cultural phenomenon but also as a metaphor for the visual and emoti onal production of self and our individual notions of subjectivity on a eve ryday level\, on an everyday level. \; The processes and exercises of m ethod acting clearly serve to highlight and exaggerate the normative psychi c motions\, structurings and unconscious procedures of psychic life in gene ral and automatic motion\, but are a child of a scrutinization and delineat ion process wheeling a commercialized mythologization medium.
 \;< br />Dan Finsel recently held a solo exhibition at CAPC Musé\;e d&rsq uo\;art Contemporain\, Bordeaux\, France in 2014\; the same year\, he was i ncluded in group exhibitions at Kent Fine Art\, New York and Francois Gheba ly\, Los Angeles\; and in 2013 he was included in a group exhibition at Ins titut d&rsquo\;Art Contemporain\, Villeurbanne\, France. Finsel also held a solo exhibition at Ballroom Marfa\, Marfa\, Texas\, and was included in &l dquo\;Made in L.A.&rdquo\; at the Hammer Museum\, Los Angeles in 2012. Fins el lives and works in Los Angeles.

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¹\; A project reflective of his ongoing research/investigation into the social phenomenon of method acting\, and the underlying social\, psychological and cultural sciences surrounding and relative to\, in whatever degree\, this theatrical practice/self investigative medium/pseudo psychotherapeutic &ldq uo\;science&rdquo\;.

²\;The sculpture: &ldquo\;Affective Mem ory: Cage&rdquo\; (2014)\, first shown at Francois Ghebaly Gallery in 2014 within the context of Ramiken Crucible gallery was \; created as a prea mble to what was this upcoming work\, exhibition and project. \; In the case of that object\, the idea is that it is a frozen representation of a cinematic trope\, surrealistically visualizing the psychological relationsh ip within the &ldquo\;performer&rdquo\;\, about the &ldquo\;Cage&rdquo\;.&n bsp\; You are looking through the eyes of the &ldquo\;performer&rdquo\; loo king at their &ldquo\;Affective Memory Object&rdquo\;\, in a movie where an artist playing a &ldquo\;performer&rdquo\; is looking at a hypothetical &l dquo\;Affective Memory Object&rdquo\; overtaken briefly by the associative affects of her personal object. \; &ldquo\;Affective Memory: Cage" 2014 \, is an illustration of how I would see the cage object in the video &ldqu o\;Affective Memory: (A/The Cage)"\, 2015.

³\;Affective memo ry objects are non-physical objects held within the intuition or imaginatio n of the actor for help in the retrieval of their associative memory and/or emotion. \; Starting typically as a physical\, personal object chosen by the actor for personal content and associative quantity\, these objects are then tasted\, touched\, smelled\, heard\, and looked upon. \; This sensorial process is an exercise of creating physical associations which th en in memory allow for more entrances to that desired place\, in a sense. T hat single place is/can be a very dirty place\, though. \; Capital &ldq uo\;D&rdquo\; dirty\, depending upon the individual. \; This dirtiness is something that itself can direct one to multiple other places in memory\ , leading ultimately to a process similar to that of shifting through a hoa rder&rsquo\;s storage unit.

4Affective Memory or Emot ional Recall are procedural practices within the Stanislavskian and Strasbe rgian forms of Method acting. \;Mostly similar\, these notions are used more as a psychological &ldquo\;tool&rdquo\; to unearth memory and enhance the verisimilitude within a performance to that of a lived event. \; T he actress or actor thus is asked to select a particular personal event fro m their lived experience\, as to draw from and connect to the concurrent ro le and/or scene within a performance. \; Using a procedure of recollect ion both through their trained sensorial memory of that event and/or a cons tructed or authentic associative connection to a personal object\, they ess entially produce a mimetic representation from their memory of their origin al emotions to that &ldquo\;original&rdquo\; lived experience. \; Endin g with the presentation of &ldquo\;self&rdquo\; through character or preten se.

5What I think ultimately happens\, and what I act ually do in my mind\, is just count down from 100\, and let shit just take over. \; Its really amazing what happens&hellip\;things do happen\, thi ngs actually happen\, things\, things inexplicable but clearly planned\, th ings\, thingy things\, a thing\, thing. I coordinate all of it\, intuition aside\, I don&rsquo\;t believe in intuition. It&rsquo\;s basic. Strategy an d manipulation\, April Fools and Whoopie cushions.

6R ebecca Miller is also extremely intriguing and only furthers this life goal \, as we would/could share in the quiet and subtle love tokens of our share d partner.

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DTEND:20150214 DTSTAMP:20141225T200749 DTSTART:20150110 GEO:34.075883;-118.350767 LOCATION:Richard Telles Fine Art\,7380 Beverly Boulevard \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Solo Exhibition\, Dan Finsel UID:368507 END:VEVENT BEGIN:VEVENT DTEND:20150110T190000 DTSTAMP:20141225T200749 DTSTART:20150110T170000 GEO:34.075883;-118.350767 LOCATION:Richard Telles Fine Art\,7380 Beverly Boulevard \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Solo Exhibition\, Dan Finsel UID:368508 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Chats About Change: Critical Conversations on Art and Pol itics \;is five conversations addressing contemporary them es that artists and activists are developing in Los Angeles today. The dial ogues will critically engage the topics of participatory structures in cult ure\, confrontational art practice\, the dialectic of the spiritual and the political\, interdisciplinary collaboration\, and the politics of land use .

Organized by artists \;Elana Mann \;a nd \;Robby Herbst\, \;Chats About Change&n bsp\;represents a grassroots response to the national phenomena of the institutionalization of \;social practice art \;withi n hegemonic institutions. \;Chats About Change \;a ims to strengthen local networks of politically oriented artists through a self-organized forum fostering analytical reflection and response.

The events will take place on \;Thursday January 15\, 2015&n bsp\;at \;California State University Los Angeles andSaturday January 1 7\, 2015 \;at \;LACE. \;

Chats Abou t Change \;asks questions\, wages debates\, and supports the c ommunity of people seeking experimental ways to affect Southern California and beyond. Participants include \;Lauren Bon\, Dorit Cypis\, C amilo Cruz\, Sandra de la Loza\, Micol Hebron\, Amitis Motevalli\, Daniel J oseph Martinez\, Jennifer Moon\, Jane Tsong\, Ultra-red\, \;an d others.

For a schedule and list of participants\, visi t \;www.chatsaboutchangela.org.

DTEND:20150117T183000 DTSTAMP:20141225T200749 DTSTART:20150117T100000 GEO:34.10119;-118.331831 LOCATION:Los Angeles Contemporary Exhibitions (LACE)\,6522 Hollywood Blvd. \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:Chats About Change: Critical Conversations on Art and Politics UID:368506 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150404 DTSTAMP:20141225T200749 DTSTART:20150213 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Solo Exhibition\, Devin Kenny UID:368504 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150214 DTSTAMP:20141225T200749 DTSTART:20150106 GEO:34.040097;-118.237935 LOCATION:Cirrus Gallery\,542 S. Alameda St. \nLos Angeles\, CA 90013-1708 SEQUENCE:0 SUMMARY:Untethered\, Gerard Brane\, Charles Christopher Hill\, Jane Hugento ber\, Ted Kerzie\, Gloria Kisch\, Jay McCafferty\, Ed Moses UID:368502 END:VEVENT BEGIN:VEVENT DTEND:20150106T200000 DTSTAMP:20141225T200749 DTSTART:20150106T180000 GEO:34.040097;-118.237935 LOCATION:Cirrus Gallery\,542 S. Alameda St. \nLos Angeles\, CA 90013-1708 SEQUENCE:0 SUMMARY:Untethered\, Gerard Brane\, Charles Christopher Hill\, Jane Hugento ber\, Ted Kerzie\, Gloria Kisch\, Jay McCafferty\, Ed Moses UID:368503 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As part of The University Art Gallery&rsquo\;s (UAG) winter programming\, the gallery is pleased to annou nce a group exhibition featuring clay sculptural works by Kristin Morgin\, photographic works by Carly Steward\, and transparency and lightbox constru ctions by Deanna Erdman. Form refers to the outline and structure of a thin g. The artists in this exhibition represent a diversity of approaches to wo rking with everyday imagery\, print media and objects. In viewing these thr ee bodies of work\, we wonder about ocular disruption\, which is to say\, h ow form in these works opens the optical to the tactile and makes other str iking conceptual moves. Kristen Morgan&rsquo\;s sculptures mimetically re-f ashion found relics. Carly Steward&rsquo\;s photo collages re-examine photo graphy and sculpture in reproductions\, creating new image-forms from illus ion and absence. Deanna Erdman&rsquo\;s works bring flattened images culled from news sources into the third dimension\, distilling and magnifying ind ividual layers of information. In each instance\, the foci and subjects of perception shift through observations registered by the works as compared t o their sources.

DTEND:20150207 DTSTAMP:20141225T200749 DTSTART:20150110 GEO:33.6485224;-117.8443304 LOCATION:UCI Art Gallery\,UC Irvine 712 Arts Plaza \nIrvine\, CA 92697-2775 SEQUENCE:0 SUMMARY:Form is the outline and structure of a thing\, Kristin Morgin\, Car ly Steward\, Deanna Erdman UID:368500 END:VEVENT BEGIN:VEVENT DTEND:20150110T170000 DTSTAMP:20141225T200749 DTSTART:20150110T140000 GEO:33.6485224;-117.8443304 LOCATION:UCI Art Gallery\,UC Irvine 712 Arts Plaza \nIrvine\, CA 92697-2775 SEQUENCE:0 SUMMARY:Form is the outline and structure of a thing\, Deanna Erdman\, Kris tin Morgin\, Carly Steward UID:368501 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The University Art Gallery is pleased to present \;Paradox in Language: What I look at is never what I wish to see\, a group exhibition featuring the work of \;Charles Gaines\, Benjamin Verhoeven and Erika Vogt. This exhibition investigates the influences of various strains of c onceptual thought that began to take form in 1966 when the writings of Jacq ues Lacan and Roland Barthes became increasingly important to the study of linguistic systems. It was also the year Michelangelo Antononio&rsquo\;s fi lm \;Blow-Up \;was released\, which actively displayed the semiotic interpretation of an image. The three artists form a constellatio n of varying practices that consider the aesthetic strategies of both Conce ptualism and Structuralism. In viewing these works together\, representatio n and non-representation are held in tension. Through these practices we wi tness the challenges that lie in bringing this paradox into visual form.

In Charles Gaines' (b.1944\, United States) \;String Theor y and Randomized Text \;series\, he invents a set of rules for ran domizing appropriated texts which he then draws out onto paper. The text re tains grammatical integrity\, but as a result of the randomizing process\, it becomes incoherent. Through this undoing of language\, the meaning of th e original text is reconstructed allowing a space for the viewer&rsquo\;s i nterpretation to enter. This relationship between the text as image and ima ge as text poses the question: When language is present\, what is absent? B enjamin Verhoeven (b.1990\, Belgium) appropriates scenes from films such as Antonioni&rsquo\;s \;Blow-Up \;in his series \;Sc anning Cinema. These films are re-interpreted by scanning them in real time\, creating a distorted echo of the original. Using these films as a m aterial\, Verhoeven considers the digital image\, the filmic process\, time and space. Influenced by early experimental and Structuralist films\, Erik a Vogt (b. 1973\, United States) creates installations that include video\, drawings\, and sculptures. The video \;Geometric Persecution& nbsp\;follows the wanderings of a traveler seemingly unbound by the constra ints of time and space. Nonlinear logic and abstract concepts are character istic of Vogt&rsquo\;s practice which is grounded in both experience and pr ocess. The objects she creates are treated equal to words\, forming a visua l conversation.

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In conjunction with&n bsp\;Paradox in Language: What I look at is never what I wish to see\, the graduate Visiting Artist Lecture Series presents a lecture with ar tist Erika Vogt. \;Monday\, January 26th at 12:00 pm \;

DTEND:20150207 DTSTAMP:20141225T200749 DTSTART:20150110 GEO:33.6485224;-117.8443304 LOCATION:UCI Art Gallery\,UC Irvine 712 Arts Plaza \nIrvine\, CA 92697-2775 SEQUENCE:0 SUMMARY:Paradox in Language: What I look at is never what I wish to see\, C harles Gaines\, Benjamin Verhoeven\, Erika Vogt UID:368498 END:VEVENT BEGIN:VEVENT DTEND:20150110T170000 DTSTAMP:20141225T200749 DTSTART:20150110T140000 GEO:33.6485224;-117.8443304 LOCATION:UCI Art Gallery\,UC Irvine 712 Arts Plaza \nIrvine\, CA 92697-2775 SEQUENCE:0 SUMMARY:Paradox in Language: What I look at is never what I wish to see\, C harles Gaines\, Benjamin Verhoeven\, Erika Vogt UID:368499 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Kordansky Gallery is ple ased to announce Early Work 1944 - 1972\, its first exhibition of work by Tom of Finland. The exhibition will open on Saturday\, January 17\, 2015 at 5130 W. Edgewood Place and will continue on view through March 7\, 2015. An opening reception will be held on January 17 from 6:00pm until 8: 00pm.  \;

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Touko Laaksonen a.k.a. Tom of Finland (1920 - 1991) is widely regarded as one of the 20th century' s most influential artists for his revolutionary representation of the male figure. His drawings of fantastically muscled men engrossed in acts of hom oerotic desire comprise one of the most inventive portrayals of the human b ody in modern times. These pictures of gay men as virile\, confident\, and unashamed--equally radical for their near-illicit\, underground distributio n--originated an empowering queer iconography and liberating spirit that in creasingly inspires popular culture.  \;

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This exhibition surveys the artist's formative years across fifteen works\, each selected in close collaboration with the Los Angeles-based To m of Finland Foundation. These graphite drawings\, gouaches\, and inked sto ryboards--the majority of which have never been shown before--broadly trace the evolution of Tom's exquisite draftsmanship and compositions from his e arliest extant erotic works\, executed just after serving in the Finnish Ar my during WWII\, through to a complete comic produced in 1972\, the year be fore Tom both earned his first solo exhibition\, and retired from his adver tising career to devote himself fulltime to his art.  \;

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Among the earliest works featured is a group of rar e sketches from 1944 depicting clothed couples enjoying sensual trysts. The delicate fashion-illustrational style and the coifed hairstyles reflect th e era\, but the exposed and exaggerated genitalia\, a burgeoning pre-steroi d musculature\, and most significantly\, expressions of pride and playfulne ss signal Tom's pioneering approach to sexuality. At the time\, homosexuali ty was unequivocally taboo\, if not illegal\, and the dominant image of gay men was that of weakness\, sickness\, and effeteness. In a masterful 1947 gouache on view\, Tom both flouts and acknowledges these prejudices with th e depiction of a commanding\, strong-jawed figure discreetly pleasuring his companion. The picture also displays an early fetish for leather and milit ary garb\, trappings Tom would adopt throughout his world as symbols of pow er and masculinity.  \;

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A selecti on of finished drawings from 1957 to 1970 further redefines archetypes. Beg inning with Bob Mizer's LA-based beefcake magazine Physique Pictorial\, Tom began publishing his pictures as multi-image stories in proto-zine periodi cals. To populate this expanding universe\, he (predating the appropriation s of punk) radically coopted working class\, macho\, and heterosexual ident ities\, in particular the bikers\, sailors\, cowboys\, and circus performer s on view. Seen here idyllically cavorting\, these Adonises emulate the asp iring freedoms of the decade. Each composition is charged as much with mome nts of looking as touching\, mirroring the gaze of the viewer\, and suggest ing a heightened openness to the dynamics of visibility.  \;

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The exhibition's chronology culminates in a 197 2 multi-panel comic featuring Kake (pronounced KAH-keh)\, Tom's recurring a lter ego superhero and the original gay leatherman clone\, seducing a "Tom' s TV" repairman during a house call. Originally published as "Kake Vol. 11 TV Repair"\, one of 26 stories the artist released from 1968 to 1986\, this sequence of 20 images (plus cover) comprise the final photo-ready artwork for press production. Accordingly\, Tom supplants his graphite tonal gradie nts with the graphic\, commercial art punch of pen and gouache\, and the ch aracter of Kake\, an easy-going if horny everyman\, takes on a Sunday morni ng regularity. Similarly\, the ecstasy of "TV Repair" is set within a very conventional house with framed artwork. The artworks are photo-collaged rep roductions of Tom's own "dirty drawings"\, and what is suggestively invoked is a world in which the permissiveness of Tom of Finland is a part of ever y living room.  \;

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An accompanyin g\, fully illustrated catalogue\, designed by Brian Roettinger and featurin g an essay by Kevin McGarry\, will be published in spring 2015.  \;

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Recent solo and two-person exhibitions d evoted to the life and work of Tom of Finland include Sealed with a Secret: Correspondence of Tom of Finland\, Postimuseu\, Tampere\, Finland (2014)\; Bob Mizer &\; Tom of Finland\, MOCA\, Los Angeles (2013)\; and Kulturhu set\, Stockholm (2012). His work has also recently been featured in group e xhibitions including Abandon the Parents\, Statens Museum for Kunst\, Copen hagen (2014)\; Keep Your Timber Limber (Works on Paper)\, Institute of Cont emporary Art\, London (2013)\; and We the People\, Robert Rauschenberg Foun dation\, New York (2012). Tom of Finland's artworks are in the public colle ctions of The Museum of Modern Art\, New York\; the Los Angeles County Muse um of Art\; the Art Institute of Chicago\; and the San Francisco Museum of Modern Art\, among others.

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In Septemb er 2014\, Itella Posti published a set of three first class stamps in Finla nd featuring the artwork of Tom of Finland. From June 13 - August 23\, 2015 \, Artists Space\, New York\, will mount The Pleasure of Play\, the most co mprehensive survey exhibition of Tom of Finland's work in the U.S. The Tom of Finland Foundation\, dedicated to preserving Tom's legacy and supporting erotic art generally since 1984\, operates out of the artist's former shar ed residence in the Echo Park neighborhood of Los Angeles.

DTEND:20150307 DTSTAMP:20141225T200749 DTSTART:20150117 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:Early Work 1944 - 1972\, Tom of Finland UID:368496 END:VEVENT BEGIN:VEVENT DTEND:20150117T200000 DTSTAMP:20141225T200749 DTSTART:20150117T180000 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:Early Work 1944 - 1972\, Tom of Finland UID:368497 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The East Gallery features Picturing When\, Beth Par ker&rsquo\;s first solo exhibition with the gallery. Beth&rsquo\;s painting s analyze the presence that television and film have in Los Angeles and in her life. In her small devotional paintings\, references to television and film reflect the intimacy and the emotional connections we share as a colle ctive audience when watching these fictional narratives. Beth carefully sel ects stills\, and renders them meticulously with oil paint\, a medium that has been used to immortalize icons and narratives for centuries. Though the light of a flickering screen transmits the majority of information today\, narratives were once conveyed through painting and stained glass windows\, preserving and elevating their subjects. Beth&rsquo\;s paintings combine b illboards\, stills and Los Angeles street scenes portrayed in a stained gla ss style. Exploring the physicality of oil paint\, she methodically applies transparent layers of pigment\, creating intimate paintings that examine t he roles that television and film play in our lives.

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\n< p>Beth Parker received her MFA at Henry Radford Hope School of Fine Art\, I ndiana University and her BFA at Maryland Institute College of Art. She was the recipient of Indiana University&rsquo\;s College of Arts and Sciences Fellowship\, Mary Jane McIntire Fellowship and Friends of Art Fellowship in 2011. She lives and works in Los Angeles.

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CONTACT: Lora Schlesinger or Stephanie Mercado

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OPENING RECEPTION: Saturday\ , January 17\, 5 &ndash\; 7pm

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ARTIST TALK: Saturday\, January 17: B eth Parker - 4pm\, Kimberly Merrill - 4:30 pm

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GALLERY HOURS: Tuesda y &ndash\; Friday 10:00 &ndash\; 5:30 p.m.\, Saturdays 11:00 &ndash\; 5:30< /p> DTEND:20140221 DTSTAMP:20141225T200749 DTSTART:20140117 GEO:34.0276049;-118.4678444 LOCATION:Lora Schlesinger Gallery\,Bergamot Station T-3 2525 Michigan Ave. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Beth Parker's "Picturing When"\, Beth Parker UID:368455 END:VEVENT BEGIN:VEVENT DTEND:20140117T190000 DTSTAMP:20141225T200749 DTSTART:20140117T170000 GEO:34.0276049;-118.4678444 LOCATION:Lora Schlesinger Gallery\,Bergamot Station T-3 2525 Michigan Ave. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Beth Parker's "Picturing When"\, Beth Parker UID:368456 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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&ldquo\;If all of the steps of surrender are present\, then a great Rembrandt or Monet wi ll evoke love because the artist is simply there in all his naked humanity& rdquo\;

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&ndash\; Deep ak Chopra\, The Book of Secrets

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Lora Schlesinger Ga llery is pleased to announce Divine Journey\, new paintings by Kim berly Merrill. This will be the artist&rsquo\;s second solo-exhibition with the gallery.  \;The exhibition opens Saturday January 17\, 2015 and is on view through February 21\, 2015.

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Kimberly Merri ll&rsquo\;s new paintings are a reflection of a spiritual journey that she has travelled as a painter. As an artist\, she began to realize the profund ity in Deepak&rsquo\;s statement. In life and in creating art\, her goal is to surrender ego\, intellect and control to make the experience deeper and more satisfying. Allowing her heart\, intuition and emotions to take the l ead\, she has created a body of work that mirrors her insight\, revealing h er &lsquo\;naked humanity&rsquo\;. \; In her attempt to embrace the con cept of surrender\, she catches glimpses of the divinity of the human exper ience\, and how we each struggle to find a balance between our soul&rsquo\; s identity and our human existence. Within the work the leading character P ierrot\, in his shimmering white robe personifies saintliness\, or the soul identity of every human being.

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Kimberly Merrill re ceived her BFA and MFA at Laguna College of Art and Design\, Laguna Beach\, CA. Kimberly lives and works in Santa Monica\, CA. \;

DTEND:20140221 DTSTAMP:20141225T200749 DTSTART:20140117 GEO:34.0276049;-118.4678444 LOCATION:Lora Schlesinger Gallery\,Bergamot Station T-3 2525 Michigan Ave. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Kimberly Merrill's "Divine Journey" \, Kimberly Merrill UID:368453 END:VEVENT BEGIN:VEVENT DTEND:20140117T190000 DTSTAMP:20141225T200749 DTSTART:20140117T170000 GEO:34.0276049;-118.4678444 LOCATION:Lora Schlesinger Gallery\,Bergamot Station T-3 2525 Michigan Ave. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Kimberly Merrill's "Divine Journey" \, Kimberly Merrill UID:368454 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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Lora Schlesinger&rsquo\;s East Gallery prese nts Staples\, a new body of work by Carlo Marcucci. Staples is a series of wall-mounted sculptures assembled with s taples\, rope\, paper clips\, erasers and a variety of commonplace material s. \; This body of work presents a minimalist aesthetic and formal desi gn elements that reevaluate our relationship to industry and culture\, in t he vein of Arte Povera and the Assemblage Art movement. The two movements saw a return to simple objects and messages\, app ropriating conventional materials to create meaningful works of art. Invest ed in materiality and physicality\, these man-made products were used in re action to the modernist abstract painting that dominated the art world in t hat period.

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Marcucci&rsquo\;s choice of materials a re not found objects\, they are man-made items purchased at office supply a nd hardware stores. He combines these elements harmoniously\, producing ele gant works of art greater than the simple summation of the individual compo nents. For all intended purposes\, the items chosen lose their recognizable original identity and are transformed into graceful geometric compositions reminiscent of office buildings\, cubicles\, architectural details and of industry. The sensual aspects of the materials are accentuated and allowed to be discovered anew.

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CONTACT: Lora Schlesinger or Stephanie Mercado

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OPENING RECEPTION: Saturday\, December 6\, 2014 5:00 &ndash\; 7:00 PM \; \;

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GALLERY HOURS: Tuesday &ndash\; Friday 10:00 &ndash\; 5:30 p.m.\, Saturdays 11:00 &ndash\; 5:30

DTEND:20141206 DTSTAMP:20141225T200749 DTSTART:20141206 GEO:34.0276049;-118.4678444 LOCATION:Lora Schlesinger Gallery\,Bergamot Station T-3 2525 Michigan Ave. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Carlo Marcucci's "Staples" \, Carlo Marcucci UID:368447 END:VEVENT BEGIN:VEVENT DTEND:20141206T190000 DTSTAMP:20141225T200749 DTSTART:20141206T170000 GEO:34.0276049;-118.4678444 LOCATION:Lora Schlesinger Gallery\,Bergamot Station T-3 2525 Michigan Ave. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Carlo Marcucci's "Staples" \, Carlo Marcucci UID:368448 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150214 DTSTAMP:20141225T200749 DTSTART:20150117 GEO:34.0880307;-118.3766156 LOCATION:OHWOW Los Angeles\,937 N. La Cienega \nLos Angeles\, CA 90069 SEQUENCE:0 SUMMARY:House of the Rising Sun\, Kon Trubkovich UID:368385 END:VEVENT BEGIN:VEVENT DTEND:20150117T200000 DTSTAMP:20141225T200749 DTSTART:20150117T180000 GEO:34.0880307;-118.3766156 LOCATION:OHWOW Los Angeles\,937 N. La Cienega \nLos Angeles\, CA 90069 SEQUENCE:0 SUMMARY:House of the Rising Sun\, Kon Trubkovich UID:368386 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Join us Saturday\, J anuary 17\, from 5:00 p.m. &ndash\; 6:00 p.m. for a conversation between Ca rlos Bunga and Olivier Mosset\, moderated by Mark Lee\, ar chitect and co-founder of one of California&rsquo\;s most internationally r egarded architectural offices\, JohnstonMarklee.
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Christopher Grimes Gallery is very pleased announce an exhibition o f new work by Carlos Bunga and Olivier Mosset. This exhibition hig hlights the juxtaposition of two divergent artistic approaches to painting and challenges the viewer to examine their understanding of the medium: fro m Mosset&rsquo\;s two dimensional wall murals to Bunga&rsquo\;s three dimen sional cardboard constructions\; from Mosset&rsquo\;s seeming self-sufficie ncy and &ldquo\;authorlessness&rdquo\; to Bunga&rsquo\;s tactile originalit y and authenticity\; to the monumentality of Mosset&rsquo\;s installation a nd the intimacy of Bunga&rsquo\;s paintings.
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Olivier Mosse t emerged in the 1960s and has since been associated with a multitude of ar t historical movements\, involving himself in both the European and America n artistic and critical contexts. In anticipation of many artists\, who in the 1980s would use appropriation to critique Modernist authority\, Mosset called into question the painter&rsquo\;s gesture and signature by sharing styles and dissolving authorship to reach a &ldquo\;degree zero&rdquo\; of painting. This line of questioning continues in this exhibition where he wi ll present a wall painting composed of four yellow and blue triangles in th e form of a motif found from a mural discovered in Cuernavaca in Mexico. In addition\, a horizontal grey and white wall painting will extend the lengt h of the nearly 45-foot wall spanning the Main and South galleries. Mosset& rsquo\;s paintings possess a strong materialist sense that recalls Malevich \, Reinhardt or Stella while simultaneously maintaining a subtle relationsh ip to the readymade and appropriation.
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Carlos Bunga&rsquo\ ;s work can be described as painting that exists at the intersection of arc hitecture and sculpture. Bunga is well known known for his large-scale inst allations made of common\, unassuming materials. These installations call t o mind Kurt Schwitters&rsquo\; Merzbau project for their built quality and the creation of architecture in already existing spaces. Like Schwitters\, Bugna&rsquo\;s installations respond to existing architecture\, yet Bunga&r squo\;s installations are painted in monochromatic planes of color and are built with the intention of ultimately being destroyed. In the South galler y\, Bunga will present one such intervention in cardboard\, tape and paint in response to the architecture of the space. In the Main gallery he will s how a series of new &ldquo\;construction&rdquo\; paintings that are much mo re intimate in nature\, made from the same materials used for his installat ions. Although smaller in scale\, they nonetheless stem from his interest i n the process of painting and spatial issues as well as the presence of the body.
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Carlos Bunga (b. 1976 in Porto\, Portugal) lives an d works in Barcelona. Bunga first attracted international attention with hi s work at Manifesta 5 in San Sebastian\, Spain (2004). Since then\ , he has been shortlisted for the Artes Mundi 6 prize (2014)\, and he was a warded both the ArtPrize 2013 Grand Rapids\, MI and a visual arts grant by the Fundació\;n Marcelino Botí\;n\, Spain (2006). He has had so lo exhibitions at Museo Universitario Arte Contemporá\;neo (MUAC)\, M exico City\, Mexico (2013)\; Museu Serralves\, Porto\, Portugal (2012)\; Ha mmer Museum\, Los Angeles\, CA (2011)\; Miami Art Museum\, Miami\, FL (2009 )\; and Museo de Arte Contemporané\;a de Vigo\, Spain (2009). Group e xhibitions include Artes Mundi 6\, Cardiff\, UK (2014)\; Ruins in Contemporary Art at University Art Museum\, University of Californ ia\, Santa Barbara\, CA (2012)\; Museu d&rsquo\;Arte Contemporani de Barcel ona (MACBA)\, Barcelona\, Spain (2009)\; Unmontumental at New Muse um\, New York\, NY (2007)\; and inSite_05 at San Diego Museum of Art\, San Diego\, CA (2005). His work is in the collections of such institutions as M useum of Modern Art\, New York\, NY\; Hammer Museum\, Los Angeles\, CA\; Se rralves Foundation\, Porto\, Portugal\; and Museo d'art Contemporani de Bar celona (MACBA)\, Barcelona\, Spain.
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Olivier Mosset (b. 194 4 in Bern\, Switzerland) lives and works in Tucson\, AZ. Mosset first becam e known in France for having been part of the famous BMPT group alongside D aniel Buren\, Niele Toroni and Michel Parmentier. Since then he has exhibit ed extensively in galleries and museums worldwide. In 2012 he was the subje ct of a solo exhibition at Kunsthalle Zurich\, and a retrospective of his w ork\, Olivier Mosset: Travaux/Works 1966-2003\, was prese nted at Musé\;e Cantonal des Beaux-Arts\, Lausanne\, Switzerland and Kunstverein St. Gallen Kunstmuseum\, Switzerland (2003). His work has been included in several group exhibitions including Manifesta 10\, Her mitage Museum\, St. Petersburg\, Russia (2014)\; Whitney Biennial\ , Whitney Museum of American Art\, NY (2008)\; and he represented Switzerla nd in the 44th Venice Biennale (1990). His work is in the collecti ons of such institutions as Museum of Modern Art\, New York\; Centre Pompid ou\, Paris\, France\; National Gallery of Canada\, Ontario\; and Musé \;e Cantonal des Beaux-Arts\, Lusanne\, Switzerland among others.
DTEND:20150314 DTSTAMP:20141225T200749 DTSTART:20150117 GEO:34.0176779;-118.4871763 LOCATION:Christopher Grimes Gallery\,916 Colorado Ave. \nSanta Monica\, CA 90401 SEQUENCE:0 SUMMARY:New Work\, Carlos Bunga\, Olivier Mosset UID:368383 END:VEVENT BEGIN:VEVENT DTEND:20150117T180000 DTSTAMP:20141225T200749 DTSTART:20150117T170000 GEO:34.0176779;-118.4871763 LOCATION:Christopher Grimes Gallery\,916 Colorado Ave. \nSanta Monica\, CA 90401 SEQUENCE:0 SUMMARY:New Work\, Carlos Bunga\, Olivier Mosset UID:368384 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150207 DTSTAMP:20141225T200749 DTSTART:20150109 GEO:34.0629923;-118.3632028 LOCATION:Marc Foxx\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Sanya Kantarovsky UID:368381 END:VEVENT BEGIN:VEVENT DTEND:20150110T200000 DTSTAMP:20141225T200749 DTSTART:20150110T180000 GEO:34.0629923;-118.3632028 LOCATION:Marc Foxx\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Sanya Kantarovsky UID:368382 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150228 DTSTAMP:20141225T200749 DTSTART:20150110 GEO:34.089333;-118.338197 LOCATION:Hannah Hoffman Gallery\,1010 N Highland Ave. \nLos Angeles\, CA 90 038 SEQUENCE:0 SUMMARY:Image Search\, Sigmar Polke\, Francis Picabia\, Jörg Immendorff\, A lbert Oehlen\, Rita Ackermann\, Harmony Korine\, John Stezaker\, Raphaela S imon\, Michael Williams UID:368379 END:VEVENT BEGIN:VEVENT DTEND:20150110T200000 DTSTAMP:20141225T200749 DTSTART:20150110T180000 GEO:34.089333;-118.338197 LOCATION:Hannah Hoffman Gallery\,1010 N Highland Ave. \nLos Angeles\, CA 90 038 SEQUENCE:0 SUMMARY:Image Search\, Rita Ackermann\, Jörg Immendorff\, Harmony Korine\, Albert Oehlen\, Francis Picabia\, Sigmar Polke\, Raphaela Simon\, John Stez aker\, Michael Williams UID:368380 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150131 DTSTAMP:20141225T200749 DTSTART:20150103 GEO:34.0190877;-118.2317065 LOCATION:François Ghebaly Gallery\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Solo Exhibition\, Mike Kuchar UID:368378 END:VEVENT END:VCALENDAR