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101/exhibit proudly presents The God Particle\, a solo exhibiti on from Spanish-American artist Pedro Barbeito. This is the artist&rsquo\;s first solo showing with the gallery and will include new paintings\, drawi ngs\, a print edition and a wall installation. The exhibition will be accom panied by a full-color thirty-two page catalogue that will feature an essay written by Richard Panek\, the prize-winning author of the 4% Universe and the recipient of a Guggenheim Fellowship in Science Writing.

\n< p style="text-align: justify\;">The openin g reception with the artist will be held on Saturday\, December 14\, from 7 &ndash\; 10pm\, and is precluded by an artist talk with Barbeito at 6pm. P lease RSVP at emily@101exhibit.com to attend this exciting discourse on his new work. The exhibition will conclude on February 8th. 101/exhibit is loc ated in West Hollywood at 8920 Melrose Ave on the corner of North Almont Dr ive\, one block east of Santa Monica Blvd.

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&ldquo\;MOST PHYSICISTS LOATH E THE TERM &ldquo\;THE GOD PARTICLE.&rdquo\;
PETER HIGGS HIMSELF&mdash\;THE NAMESAKE FOR THE HIGGS BOSON \,
AKA THE GOD PARTICLE&mdash \;HAS RAILED AGAINST IT. YET FOR THE
VERY REASONSTHAT MOST PHYSICISTS THINK (CORRECTLY\, IN MY
OPINION) THAT THE PHRASE IS EXACTLY WR ONG. PEDRO BARBEITO'S
USE OF "THE GOD PARTICLE" FOR THE TITLE OF THIS EXHIBITION
SEEMS TO ME EXACTLY RIGHT.&rdquo\;

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&ndash\; RICHARD PANEK\, "THE GOOD PARTICLE" CATALOGUE ESSAY. PUB 2013

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New York-based artist Pedro Barbeito at 101/exhibi t presents a new body of work that is a re-visitation of his previously exp lored Science and Technology series. Barbeito last focused on this series f rom 1996 to 2001. Just as the Millennium was inherently a contextually satu rated time for the artist\, this day-in-age yet again presents an irresisti ble opportunity to explore a scientific milestone in mankind&rsquo\;s exist ence. This is the discovery of the Higgs boson in the collision chamber of the Large Hadron Collider (herein abbreviated as LHC) at CERN in Geneva\, S witzerland.
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This d iscovery arrives as a precursory revelation\, on a micro level\, to the lau nch of the James Webb Space Telescope in 2018 that will provide further und erstanding from a macro perspective. This dual approach to further investig ating and comprehending the universe\, either at the particle level or from extreme distance (the JWSP will serve as the Hubble telescope&rsquo\;s hei r apparent)\, is the platform upon which Barbeito bases this new body of wo rk. These polarities serve as the terminals that differentiate/unite the pa intings\, drawings\, and prints into a cohesive artistic analysis of our mo st current and important developments in the fields of particle physics and cosmology.

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Consider\, for instance\, the exhibition&rsquo\;s grand inst allation of three of Barbeito&rsquo\;s signature ovular paintings on canvas \, LHC Red\, LHC Yellow\, and LHC Blue hung in situ within the composition of LHC Black\, a 9 1&frasl\;2 x 35 foot wall painting. Executed using the f oremost developments in acrylic gel mediums and 3D printing &ndash\; a meta phor for the synthetically dependent world in which we exist &ndash\; this installation is a mimesis of being present in the chamber post-collision. T he viewer can experience\, through &ldquo\;traditional&rdquo\; painting pra ctice\, a representation of a virtually unperceivable landmark in particle physics occurring at the micro level.

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 \; So here we have an importa nt question in respect to contemporary realism\, are Barbeito&rsquo\;s &ldq uo\;representations&rdquo\; valid? By delving into the paradox of realism v ia the use of linear one-point perspective to derive micro/macro observatio nal representations of the universe\, there is the credible sense that the artist is exhibiting palpable and computational realizations of space\, tim e\, and matter. Though technology is used through out\, these works remain inevitably anthropomorphous in that the causal sequences and mathematical f ormulas that are fundamental to our understanding of cosmology and particle physics already presumes the human touch. The works are then indeed\, in a true sense\, literal facsimiles &ndash\; albeit abstract feeling ones upon initial inspection &ndash\; of actual moments in our scientific history.

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Barbeito was born in 1969 in La Coruñ\;a\, Spain. He lives and work s in Brooklyn\, New York. He received his MFA from the Yale School of Paint ing and Sculpture in 1996. His work examines the intersection of digital im aging\, science\, technology and a painting history. Barbeito has exhibited his work internationally for the past 14 years. Solo exhibition venues inc lude Aldrich Contemporary Art Museum in Connecticut\, Basilico Fine Arts an d Lehmann Maupin Gallery in New York\, Parra- Romero Gallery in Madrid\, an d Galerie Richard in Paris. He has participated in museum exhibits at the R ose Art Museum in Massachusetts\; the Museum of Modern Art in Arnhem\, The Netherlands\; The Palm Beach Institute of Contemporary Art in Florida\; and the Museo Rufino Tamayo in Mexico City\, among others.

DTEND:20140208 DTSTAMP:20140930T214538 DTSTART:20131214 GEO:34.0807161;-118.3873912 LOCATION:101/exhibit\,8920 Melrose Avenue \nWest Hollywood\, CA 90069 SEQUENCE:0 SUMMARY:The God Particle\, Pedro Barbeito UID:318451 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ANN VERONICA JANSSENS

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23 No vember 2013 &ndash\; 18 January 2014

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Opening: Saturday 23 November\, 6-8pm

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1301PE is pleased to announce its third solo exhib ition with acclaimed Belgian artist Ann Veronica Janssens. For more than tw enty years Janssens&rsquo\;s work has been widely recognized for her abilit y to challenge and experiment with the definition of perception.

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&n bsp\;In this exhibition Janssens will be exhibiting new works continuing he r exploration into what she terms the &lsquo\;ungraspable&rsquo\;. Through her motifs of abstraction\, mirroring\, and light\, Janssens deliberately d isplaces and transforms her specific materials.

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 \;&ldquo\; It&rsquo\;s a question of thresholds between two states of perception\, bet ween shadow and light\, the defined and the undefined\, silence and explosi on\; the threshold where the image reabsorbs itself.&rdquo\; &ndash\; Ann Veronica Janssens

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 \;Janssens&rsquo\;s works &ndash\; insta llations\, sculptures\, and modest interventions &ndash\; are not monumenta l or permanent structures\, but sensorial environments that engage the view er in real-time lived experiences. Willing or not\, the audience activates the work and vice versa allowing themselves to perceive and &ldquo\;interpr et the meaning of his or her personal experience&rdquo\;.

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 \;Bo rn in Folkestone\, England in 1956\, Janssens lives and works in Brussels. In 1999 Janssens represented Belgium at the 48th Venice Biennale . A selection of solo exhibitions include: FRAC Corse\, Bonifacio\, France\ ; Serendipity\, WIELS - Contemporary Art Centre\, Brussels\, Belgi um\; Are you experienced?\, Espai d&rsquo\;art contemporani de Cas telló\;\, Castelló\;\, Spain\; ARTSPACE\, Auckland\, New Zealan d\; Neue National Galerie\, Berlin\, Germany\; In the Absence of Light it is possible&hellip\;\, Salzburger Kunstverein\, Salzburg\, Austria\ ; Rouge 106\, Bleu 132\, Musé\;e d&rsquo\;Orsay\, Paris\, Fr ance\; CCA Wattis Institute for Contemporary Arts\, San Francisco\, CA\; Ik on Gallery\, Birmingham\, England\; Kunsthalle Bern\, Switzerland\; and 8&rsquo\;26&rdquo\; \,Musé\;e d&rsquo\;Art Contemporain de Mars eille\, Marseille\, France. Selected group exhibitions including: Fruit s of Passion\, Centre Pompidou in Paris\, France\; 8th Bien nale of Sydney\, Sydney\, Australia\; Ecstasy\, Museum of Contempo rary Art of Los Angeles\, CA\; Universal Code: Art and Cosmology in the Information Age\, Power Plant\, Toronto\, Canada\; Generalli Foundati on\, Austria\; Eyes\, Lies &\; Illusions\, Hayward Gallery\, En gland\; Stimuli\, Witte de With\, Rotterdam.

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 \;This e xhibition is concurrent with the release of two books focusing on Ann Veron ica Janssens work: Endless Andness: The Politics of Abstraction Accordi ng to Ann Veronica Janssens by Mieke Bal (2013) and Ann Veronica J anssens: Serendipity (catalogue) in conjunction with her 2012 exhibiti on at WIELS\, Brussels.

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

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1301PE is pleased t o announce that our current exhibition \;Ann Veronica Janssens  \;is extented through \;Saturday\, February 1.

DTEND:20140201 DTSTAMP:20140930T214538 DTSTART:20131123 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Ann Veronica Janssens UID:303460 END:VEVENT BEGIN:VEVENT DTEND:20131123T200000 DTSTAMP:20140930T214538 DTSTART:20131123T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Ann Veronica Janssens UID:303461 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Be Dammed is a research-based project by artis t Carolina Caycedo that explores concepts of flow and cont ainment\, investigating correlations between the mechanisms of social contr ol and the unethical aspects of public works infrastructural projects inclu ding large water dams and reservoirs. Be Dammed encompasses sculpt ure\, photography\, video and a performance series\, and reflects the artis t&rsquo\;s ongoing query into the development of mega-infrastructures over natural and social landscapes. Within this body of work\, Caycedo conceptua lly embeds an analogous\, contiguous relationship of tactical constraint an d crowd control\, as exercised by police and military over group protests a nd public demonstrations.

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Focusing on the case study of El Quimbo\, a hy droelectric dam currently under construction along the Magdalena River in C olombia\, Caycedo draws attention to physical\, economic and societal power structures interrupting the flow of socio-political organizing and resista nce efforts through a body of interrelated artworks. El Quimbo is the first hydroelectric power project in Colombia to be constructed by a transnation al\, private corporation\, signifying the transition of this geographically \, ecologically and historically important public body of water into a priv atized resource. As a principal river connecting the Caribbean coast to the interior of Colombia and Ecuador\, the Magdalena River has been significan t since the pre-Columbian era as a stronghold of early civilizations\, late r as a navigation route during the Spanish conquest of the Americas\, and i n contemporary times as a cultural and economic backbone of the region. Now diverted and channeled for the construction of the dam\, its watershed is in the process of geographical and ecological corporatization while local\, native communities are forcibly and nefariously displaced.

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Artworks in Be Dammed examine the interconnected spheres of legal\, physical\, and psychological social control. As part of her research for the two chan nel video The headlong stream is termed violent\, but the river bed hem ming it in is termed violent by no one\, for example\, Caycedo conduct ed interviews with a range of individuals affected by and involved with the development of El Quimbo including an activist\, an environmentalist\, an oppositional leader\, a professor\, a shaman\, a local fisherwoman\, and th e dam&rsquo\;s engineer\, to develop an understanding of this complex triad . Manifesting these relationships in performative-based works\, Caycedo con tinues her collaboration with contemporary dancer Rebeca Hernandez explorin g the choreography of power\, as exemplified by crowd control techniques\, restrictive paramilitary holds\, and barrier systems designed to contain ci vil disobedience. On-site and off-site performances will take place through out the project. Other discrete artworks such as the sculpture Manopla Triple Arco/Three Arched Knuckle draw parallels between the architectu re of dams and the structural forms used for physical domination.

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Within her residency and exhibition\, Caycedo asks an open-ended\, on-going set o f questions relative to the nature of dams and power structures. &ldquo\;If the social promise of economic development is a distraction technique tout ed by multinational corporations to develop mega-structured today\, could t he promise of security be a distraction technique employed by military and police to achieve a state of social repression?&rdquo\; &ldquo\;Is corporat e construction of dams in Latin America a continuation of colonialism?&rdqu o\; &ldquo\;Is a dam a siege of nature?&rdquo\; &ldquo\;Is security a siege of community?&rdquo\;

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Carolina Caycedo&rsquo\;s Artist Lab Residenc y at 18th Street Arts Center and all associated events have been made possi ble through the generous support of the Santa Monica Cultural Affairs Division\, < a href="http://www.warholfoundation.org/" target="_blank">Andy Warhol Found ation for the Visual Arts\, and Los Angeles County Arts Commission.

DTEND:20131220 DTSTAMP:20140930T214538 DTSTART:20131014 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Be Dammed: Artist Labs Residency and Exhibition\, Carolina Caycedo UID:300349 END:VEVENT BEGIN:VEVENT DTEND:20131116T210000 DTSTAMP:20140930T214538 DTSTART:20131116T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Be Dammed: Artist Labs Residency and Exhibition\, Carolina Caycedo UID:300350 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For Armin Hofmann\, lecturing at design schools and working as a freelan ce graphic artist went hand in hand: his activities as an educator invariab ly provided inspiration for his own work. Rather than a doctrinaire approac h\, Hofmann&rsquo\;s teaching style centered on the students&rsquo\; engage ment with their own experiences and abilities\, so enabling them to hone th eir individual perception of design issues.  \;

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During his many years as a teacher at various institutions across the worl d\, including the Basel School of Design in Switzerland and the Yale Univer sity School of Art\, Hofmann accumulated a treasure-trove of experiences an d findings on the subject of color. Following his retirement\, he produced 20 silkscreen portfolios\, each containing 12 compositions. One of these po rtfolios and 16 studies for the prints will constitute the major portion of Farbe / Color. Hofmann has described his silkscreens as an account of his pedagogical activities. \;

The exhibition at A+D Architecture and Design Museum will showcase one of Hofmann&rsquo\;s portfolios as well as 16 studies of the prints as a part of Farbe / Color. The legendary Swiss graphic designer and educator has described his silkscreens as an account of his pedagogical activities. Farbe / Color will also display his students&rsquo\; work\, chosen by Hofma nn\, to demonstrate his teaching method\, which involved mixing\, observing and juxtaposing the finest nuances of color. Hardcopies and projections of these works will be shown in the &lsquo\;project room.&rsquo\;

Hofmann&rsquo\;s work in the buil t environment will be represented as physical\, color interventions into th e museum itself. \;

As an educator for 44 years\, Hofmann has had immeasurable influence on g enerations of designers and shaped the world&rsquo\;s perception and unders tanding of color and design.

DTEND:20140119 DTSTAMP:20140930T214538 DTSTART:20131114 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Farbe / Color\, Armin Hofmann UID:297590 END:VEVENT BEGIN:VEVENT DTEND:20131114T170000 DTSTAMP:20140930T214538 DTSTART:20131114T110000 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Farbe / Color\, Armin Hofmann UID:297591 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bernar Venet&rsquo\;s GRIB series is an extension of his wooden Indeterminate Lines\, which he began displaying as reliefs betwee n 1979 and 1983. The 1.5 inch steel plates used by Venet are torch-cut\, a technique\, which adds to the unpredictable nature of &ldquo\;scribbles&rdq uo\; and gives these works a rougher character that is less elegant and acc essible than their relief predecessors.

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Venet reflects\, &ldquo\;My work at the factory is a game of natural constraints between my intentions and the material itself. Each orients the other and is oriented in its turn. I propose directions but am at the same time directed by the steel bar that r esists\, and will not surrender to my will to dominate&hellip\; In this gam e of concessions I must leave its autonomy at the helm.

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The resul t is a testimony to the act of forming and to the inherent possibilities of the material that I do not transform beyond its natural characteristics. B y not changing its nature\, I do not manipulate its appearance\; that would involve creating artifices. In my sculpture\, I am intent on keeping the e nergy of the atomic mass and its relationship to gravity\, on respecting it s singularity\, its difference\, its identity.

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The constructivist arrangement of different forms and materials\, assembled so as to create & ldquo\;something else&rdquo\;\, is an approach that I reject. I am in favor of works that are literal and explicit\, devoid of artifice or ambiguity. My sculpture is the direct outcome of the manufacturing process. As I said earlier\, it is the &lsquo\;how&rsquo\; that defines the &lsquo\;what&rsquo \;.

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My sculptures are self-referential in the sense that they tell their own story\, the story of their elaboration. In this way they stand apart f rom the classical object that hides its sculptural identity and &lsquo\;spe aks of something else&rsquo\;.&rdquo\;1

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The GRIBs act as living drawings that become monumental through the act of physically transferring them from 2D drawings to 3D steel structures\, which are then mounted on t he wall. The movement of the hand in their creation is vital\, as the shape is entirely dictated by the short time in which Venet randomly puts pen to paper\, acknowledging the power of gesture itself as meaningful.

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Bernar Venet was born in 1941 in Chateau-Arnoux-Saint-Auban\, France. He li ves and works between New York and Hungary.

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O pening Concurrently at Ace Gallery Los Angeles &\; Beverly Hills
S aturday July 20\, 2013
Beverly Hills 6:00 PM - 8:00 PM
Los Ange les 8:00 PM- 10:00 PM

DTEND:20140125 DTSTAMP:20140930T214538 DTSTART:20130720 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:GRIBS\, Bernar Venet UID:282536 END:VEVENT BEGIN:VEVENT DTEND:20130720T200000 DTSTAMP:20140930T214538 DTSTART:20130720T180000 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:GRIBS\, Bernar Venet UID:282537 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;My work s are often the result of an unexpected event. The impression of precarious equilibrium that this sculpture evokes is in fact the result of a group of arcs&rsquo\; accidental slippage.&rdquo\; \;

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&ndash\; Bernar Venet

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The revelation of the processes o f production in the work of art is clearly the governing principle behind t he series \; \;Indeterminate Lines \;that made their a ppearance in Bernar Venet&rsquo\;s work from 1979. &ldquo\;Indeterminate&rd quo\; because they are diametrically opposed to the mathematical determinat ion of their predecessors. \; More vague and less tangible\, they canno t be reduced to an equation: they nevertheless seek a form of physical cert ainty strong enough to silent the confusion of meanings and to demonstrate explicitly that their one truth and reality is that of a piece of work.&nbs p\; The obvious geometrical forms of previous pieces are here replaced by t he direct manipulation of a raw material.

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Venet&rsquo\; s daily working process is a sort of satisfying game of natural constraints between his artistic intentions and the material itself. \; Each orien ts the other and is oriented in its turn. \;The artist proposes directi ons but at the same time he&rsquo\;s directed by the steel bar that resists . In this fascinating subtle game of concessions\, the artist must leave it s autonomy at the helm. The esthetical result is a compelling testimony to the act of forming and to the inherent possibilities of the material. \ ;

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< span style="font-size: small\;">*Opening Concurrently at Ace Gallery Los An geles &\; Beverly Hills
Saturday July 20\, 2013
Beverly Hill s 6:00 Pm - 8:00 PM
Los Angeles 8:00 Pm - 10:00 PM

DTEND:20140927 DTSTAMP:20140930T214538 DTSTART:20130720 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Indeterminate Lines and Arcs\, Bernar Venet UID:274326 END:VEVENT BEGIN:VEVENT DTEND:20130720T220000 DTSTAMP:20140930T214538 DTSTART:20130720T200000 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Indeterminate Lines and Arcs\, Bernar Venet UID:274327 END:VEVENT BEGIN:VEVENT DESCRIPTION:

New York based painter Phil Frost (b. 1973) has evolved a consistent\, i nstantly recognizable aesthetic synonymous with his name\, which he refers to as &ldquo\;intuitive perceptive portraiture.&rdquo\; This first exhibiti on of new work at Ace Gallery testifies to his relevance and extensive cult ural reach as a leading contemporary artist who is self taught. Frost&rsquo \;s title for the exhibition\, with its multiple meanings\, alludes to the ascetic life. Referring to the internal struggles involved in the act of pa inting\, it is often an unnerving personal journey involving intense discip line and patience in self-imposed isolation. Encoded in the pursuit\, there is no straying from a discipline in which he is immersed. As many artists and writers experience\, The Solace of the Sword references the st ruggle with solitary confinement required to create. Frost&rsquo\;s visual language melds layers of flat-white\, culturally indeterminate mask-like fo rms with bold typographical and fluid\, glyphic\, geometric\, and sinuous s hapes that dance above vivid spectrums of painterly color\, forming the lon g-necked busts and repetitions of faces that are pronounced as his intuitiv e portraiture.

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Raised in rural Western Massachusetts\, from a young age he grew up searching for and sometimes finding Indian adzes and arrowheads in farm fields and forests\, and he made use of a natural fountain found at the edge of the woods that spouted clay by sitting at its rim and forming shapes in his hands. Early artistic experiment found him repetitiously draw ing the white streak found in the hair of comic book scientist Reed Richard s of The Fantastic Four\, as well as scenes of Pac-Man chasing ghosts\, and the antennae found on Batman&rsquo\;s mask. Just before his early teens\, Frost began to enjoy spending time on summer visits with an older cousin wh o was an authority on antique glass bottles found in Northwestern Ohio. Tog ether they would go on expeditions armed with maps of former times from the library and dig farm fields and abandoned rural dumps for glass vessels. < br />

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The unearthed treasures were impressed upon his mind and this arch aeological drive influenced him\, and would continue to. It was later revea led when he began making work imbued with collected and found objects\, as a way to present the actual passage of his life gesturally into the context of a painted visual passage&mdash\;a representation to articulate how the now inflects a lineage of experience in time and space that is formed both physically and intuitively from what is around him.

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In his adolescence F rost moved\, along with his younger sister and mother\, by whom he was sole ly raised\, to Cooperstown\, NY for just over two years. There\, an early f ascination with baseball and in particular the position of pitching and the arabesque-like gesture made by a swinging bat was deepened.

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His teenage years were spent in Albany\, NY and were consumed by skateboarding downtow n in the Capital District\, where various terrain included Ellsworth Kelly sculptures and the perfectly transitionally-formed marble quarter-pipes\, t he glass walls on the architecture of Wallace Harrison&rsquo\;s Egg\, and t he marble playground he designed known as The Nelson A. Rockefeller Empire State Plaza. His often taking off on excursions to New York City to skatebo ard with friends led to an awareness and depth of interest in graffiti and anonymous mark making. Eventually cracking both of his kneecaps and repeate dly breaking both wrists\, Frost was about to drop out of high school when a principal recommended an independent-study art class\, to make up extra c redit. With no teacher but the materials put in front of him\, Frost would figure out how best to stretch a canvas\, venture to find objects he could use as material in left over fire pits\, and decide that he wanted to be a painter on his own terms. At a yard sale he attended with his mother he sco red a 25-cent brown paper bag of oil paints along with a copy of David Sylv ester&rsquo\;s Interviews with Francis Bacon that led to his further convic tion. Captivated\, he read it intently and repeatedly. Also self taught\, B acon&rsquo\;s ethos resonated deeply and triggered in Frost\, at the age of eighteen\, an eager thirst for art-historical precedents\, including in pa rticular\, Alberto Giacometti\, whose fascination with heads\, busts and fi gures in space began the evolution and direction that has defined Frost&rsq uo\;s work today.

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At eighteen\, late in the summer of 1991\, Frost moved on his own to Long Island City\, Queens. Here\, he took union jobs\, labor ing in the night on the backs of trucks so that he could have his days free to persistently explore museums\, scour the streets for materials\, and ma ke his work in the tiny\, windowless basement studio that he inhabited. Sur rounded by many different ethnicities and without speaking or understanding any language other than English\, Frost found immense inspiration in closi ng his eyes on the subway and listening to the sound of multiple languages being spoken all at once\, recording fragments of words and charting with h is eyes closed a hybrid of language. Early work with typography found him k nocking out the negative space created by letterforms with white\, as a way to "pop\," or form random patterns of shape\, to react against color. Thes e fluid and sinuous patterns of white shapes that often dominate his work o f late came from a progressive evolution of the reduction of words that in the same way often form a nonsensical lingual chanting woven throughout the intricate layering in his painting.

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Phil Frost was born in Jamestown\, NY in 1973 and currently lives and works in the Upper Hudson Valley region of Upstate NY. \;

DTEND:20140125 DTSTAMP:20140930T214538 DTSTART:20130720 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:The Solace of the Sword\, Phil Frost UID:284238 END:VEVENT BEGIN:VEVENT DTEND:20130720T220000 DTSTAMP:20140930T214538 DTSTART:20130720T200000 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:The Solace of the Sword\, Phil Frost UID:284239 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present a solo exhibition of new la rge scale paintings by Jonathan Apgar. This will be the ar tist's first exhibition at the gallery. Apgar's canvases flicker with dry b rush marks that produce patterned patches of luminous color. The thin paint application references the grain of the canvas beneath. The artist weaves together positive and negative spaces often reversing typical oil painting procedures and embracing indirect pictorial strategies. Most of the paintin gs stand as reverberating portals for the viewer. His paintings appear simu ltaneously as flat surfaces and as images of spatial depth.
< br /> Jonathan Apgar lives and works in Lo s Angeles. He received his M.F.A. at UCLA earlier this year and received hi s B.F.A. from California State University\, Long Beach. Recent exhibitions include the Irvine Fine Arts Center\, the California State University Long Beach\, and the Torrance Art Museum\, among others.

DTEND:20131221 DTSTAMP:20140930T214538 DTSTART:20131123 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:The Unfruitful Land\, Jonathan Apgar UID:300410 END:VEVENT BEGIN:VEVENT DTEND:20131123T200000 DTSTAMP:20140930T214538 DTSTART:20131123T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:The Unfruitful Land\, Jonathan Apgar UID:300411 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present a solo exhibition of new pa intings by Los Angeles based artist Tomory Dodge. This wil l be the artist's sixth solo exhibition at the gallery. The show will featu re a single large-scale painting and six smaller scale paintings. In this b ody of work\, Dodge's paintings seem to have a veil of black or white paint masking the surface of the canvas then deliberate scrapes reveal vibrant s trips of color beneath. The paintings possess a forceful physicality\, by r evealing the strategic actions of the artist &ndash\; every pull and scrape adds another layer to the finished painting.

Tomory Dodge (b. 1974\, Denver\, CO) received his MFA from the California Institute of the Arts and his BFA at Rhode Island S chool of Design. Recent exhibitions include the Southeastern Center for Con temporary Art\, Winston-Salem\, NC\, Monica De Cardenas Galleria\, Zuoz\, S witzerland\, CRG Gallery\, New York\, and Alison Jacques Gallery\, London. His work is included in many museum collections including the Los Angeles C ounty Museum of Art\, Orange County Museum of Art\, the Smithsonian America n Art Museum\, and the Whitney Museum of American Art\, among others.

DTEND:20131221 DTSTAMP:20140930T214538 DTSTART:20131123 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Tomory Dodge UID:300415 END:VEVENT BEGIN:VEVENT DTEND:20131123T200000 DTSTAMP:20140930T214538 DTSTART:20131123T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Tomory Dodge UID:300416 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist uses everyday materials to create \; sculptures t hat critique consumerism\, artificiality.

DTEND:20140119 DTSTAMP:20140930T214538 DTSTART:20131011 GEO:34.168199;-118.185874 LOCATION:Alyce de Roulet Williamson Gallery\,Art Center College of Design 1 700 Lida St.\nPasadena\, CA 91103 SEQUENCE:0 SUMMARY:Un/Common Objects\, Lynn Aldrich UID:297004 END:VEVENT BEGIN:VEVENT DTEND:20131017T210000 DTSTAMP:20140930T214538 DTSTART:20131017T190000 GEO:34.168199;-118.185874 LOCATION:Alyce de Roulet Williamson Gallery\,Art Center College of Design 1 700 Lida St.\nPasadena\, CA 91103 SEQUENCE:0 SUMMARY:Un/Common Objects\, Lynn Aldrich UID:297005 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The gallery will close December 22nd and will re-ope n \;January 2nd.

DTEND:20140111 DTSTAMP:20140930T214538 DTSTART:20131123 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:40 Years at the Daniel Weinberg Gallery\, Joe Zucker\, Dan Zeller\, Peter Young\, Christopher Wool\, Steve Wolfe\, John Wesley\, Richard Tuttl e\, Michael Tetherow\, Sturtevant\, James Siena\, Joel Shapiro\, Michelle S erge\, Alan Saret\, Robert Ryman\, Alexander Ross\, Dorothea Rockburne\, Da vid Rabinowitch\, Thomas Nozkowski\, Bruce Nauman\, Catherine Murphy\, Lore n Munk\, Robert Moskowitz\, Paul Mogensen\, John McLaughlin\, Andrew Masull o\, Chris Martin\, Brice Marden\, Robert Mangold\, Sol LeWitt\, Sherrie Lev ine\, Barry Le Va\, Harriet Korman\, Jeff Koons\, Alfred Jensen\, Bryan Hun t\, Ralph Humphrey\, Mary Heilmann\, Alexander Gorlizki\, Robert Gober\, Da n Flavin\, Paul Feeley\, Bart Exposito\, Victoria Gitman\, Carroll Dunham\, John Duff\, Steve DiBenedetto\, R. Crumb\, Peter Cain\, Scott Burton\, Lee Bontecou\, Mel Bochner\, James Bishop\, Bernd & Hilla Becher\, Richard Art schwager\, Carl Andre UID:305735 END:VEVENT BEGIN:VEVENT DTEND:20131123T200000 DTSTAMP:20140930T214538 DTSTART:20131123T180000 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:40 Years at the Daniel Weinberg Gallery\, Carl Andre\, Richard Arts chwager\, Bernd & Hilla Becher\, James Bishop\, Mel Bochner\, Lee Bontecou\ , Scott Burton\, Peter Cain\, R. Crumb\, Steve DiBenedetto\, John Duff\, Ca rroll Dunham\, Bart Exposito\, Paul Feeley\, Dan Flavin\, Victoria Gitman\, Robert Gober\, Alexander Gorlizki\, Mary Heilmann\, Ralph Humphrey\, Bryan Hunt\, Alfred Jensen\, Jeff Koons\, Harriet Korman\, Sherrie Levine\, Sol LeWitt\, Robert Mangold\, Brice Marden\, Chris Martin\, Andrew Masullo\, Jo hn McLaughlin\, Paul Mogensen\, Robert Moskowitz\, Loren Munk\, Catherine M urphy\, Bruce Nauman\, Thomas Nozkowski\, David Rabinowitch\, Dorothea Rock burne\, Alexander Ross\, Robert Ryman\, Alan Saret\, Michelle Serge\, Joel Shapiro\, James Siena\, Sturtevant\, Michael Tetherow\, Richard Tuttle\, Ba rry Le Va\, John Wesley\, Steve Wolfe\, Christopher Wool\, Peter Young\, Da n Zeller\, Joe Zucker UID:305736 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Anat Ebgi is pleased to announce Amie Dicke&rsquo\;s first solo exhibition for the gallery entitled \;Collecting Alibis. \;An opening reception will be held on \;Saturday\, November 16 from 6-8PM\, and will be on view until  \;January 4\, 2014. \;For this exhibition\, Dicke brings together three bodies of work representing the artist&rsquo\;s ongoing critique of t he subtext of images that surround and influence us.
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Born and raised in Rotterdam\, Dicke&rsquo\;s interest in this interaction can be traced back to her youth. As a girl she plastered her walls with ima ges ripped from fashion magazines. Living in this space\, engendered in her a desire to understand how these images could elicit an emotional response . Later in life\, she would tackle this artistically by tearing through the se images with an X-Acto knife and defacing them to create a void. She did this\, in her words\, in an attempt to &lsquo\;look for less&rsquo\; and to search for substance beneath these pictures.
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The exh ibition includes several examples of this area of Dicke&rsquo\;s practice. The images\, large scale photo-portraits scratched out with sandpaper\, lea ve small details untarnished and highlighted -- a fold in the shoulder of a shirt\, or a crisp white button. Effectively\, Dicke has made her subjects anonymous\, but in doing so she is able to give them a new purpose. Her te chnique causes the viewer to investigate the absence of these visages and f orces us to wonder about what Dicke&rsquo\;s left behind. By removing the f acial features of these photos\, she has created a vacuum for us. It is one into which she wants the viewer to pour their own anxieties and questions\ ; she has carved a space for us to fill\, even complete for a moment\, with personal memories and fantasies.
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This atmosphere of unease and dread is something that Dicke attributes to bombardment of visua l stimulus that we experience daily. Her choice of subject matter\, just li ke her choice to live surrounded by magazine images as a girl\, derides the idea that we are not complicit in the construction of this environment. Af ter her graduation from the Willem de Kooning Academy\, the artist spent ti me in New York. There this feeling of &lsquo\;isolation despite being surro unded&rsquo\; was compounded to the extent that she felt compelled to expre ss this in her work.
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The gallery is excited to presen t two major panels from this part of Dicke&rsquo\;s oeuvre. The pieces\, ti tled \;IIand \;III\, have recently been exhibited at the GEM Museum of Contemporary Art in The Hague. They are monolithic pl exiglass plates coated in red\, blue\, and black Bic ink. Dicke has blown t he ink thickly onto them to create an illusion similar to oil slick or thic k poster paint. With these works\, Dicke&rsquo\;s desire to deconstruct our expectations of two-dimensional spaces explodes into the sculptural domain . The objects evoke billboards and advertising displays but their opaquenes s renders the object\, once again\, illegible. Instead\, the viewer picks o ut the few shades of color permeating through the dark textural panels.
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At the center of the gallery\, sits a reconstruction of Dicke&rsquo\;s \;Battle of Magenta. The piece was also first d isplayed in the GEM Museum and consists of a vast pool filled with floating prints and which represents an extension of the artist&rsquo\;s interest i n these themes. Once again\, she has taken a flat still space\, an undistur bed body of water\, and approached it with a frenetic and almost chaotic en ergy. What is left is an immensely sculptural and vibrant. The ink from the prints slowly releases\, blending and mixing with the water. Magenta is th e first tone to be released as the images decompose in this swirling morass of color. The title harks back to a battle that was fought near the villag e of Magenta\, Italy. There\, Napoleon III fought the second Italian war of Independence and in that same year the purple dye pigment was discovered a nd thus named after the battle\, Magenta. The sources for the images range from current magazines\, newspapers from 100 years ago\, National Geographi c\, second hand books\, postcards etc. (All from Dicke&rsquo\;s personal ar chive.) She explains how they came to be part of this work:
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&ldquo\;Some of the prints I have had for many years. They hung at m y studio wall or are a part of this many big piles of images. I have them a ll in my mind\, but also forgot about them. I find that forgetting part ver y important. It is about the survival of images. Once I see the image back I know I had seen it before. I am testing these images I have seen\, I carr y in my mind. They form my image bed.&rdquo\;
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The end result is a piece where a lifetime of half forgotten images comes together \, totally divorced from their original context\, to remind us of historica l event and present us with an original visual landscape. This helps reaffi rm the idea\, broadcast throughout these three bodies of work\, that the tr uly fascinating part of our visual culture lies below its surface.\n
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Collecting Alibis \;is Dicke&rsquo\;s third solo exhibition in Los Angeles. Previous exhibitions include\, \;Infini tely Suffering Thing\, 2008 and \;Sensual Sadness\, 2003\ , both at Peres Projects.
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Amie Dicke (b. 1978\, lives and works in Amsterdam). Recent solo exhibitions include: GEM Museum of Co ntemporary Art\, The Hague\, NL\; Castrum Peregrini\, Amsterdam\, NL\; and Hiromi Yoshii Gallery\, Tokyo\, JP. Recent group shows include\; \; The Tolerent Home\, Amsterdam\,NL\; \;BSSM\, The Company\ , Los Angeles\; \;Half Sugar\, Half Sand\, and \;The D utch Identity? The Power of Now \;both at Museum de Paviljoens\, A lmere\, NL\; \;Saccharine-D12 \;Serie\, Grimmuseum\, Berli n\, DE\; \;Opening Exhibition\, Museum of Old and New Art\, Ho bart Tasmania\, Australia\, and Murakami Takashi Kaikai Kiki Collection -We stern Europe Art Exhibition\, curated by Takashi Murakami\, Kaikai Kiki gal lery in Taipei\, Taiwan.  \;Her solo show \;Collecting Alibis \;at Stigter Van Doesburg\, Amsterdam\, NL is on view untilNovember 23\, 2013.
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Dicke&rsquo\;s work has been exhibited in ternationally in venues such as Schirn Kunsthalle in Frankfurt\, Germany\, Tate Modern and Project Space 176 in London\, FLAG Art Foundation\, New Yor k\, and Art Centre Silkeborg Bad in Denmark. Her work is included in severa l major collections including Gemeentemuseum The Hague\, Collection Rob Def ares\, Direct Art Collection\, the Zabludowicz Collection\, Collection Rik Reinking\, Takashi Murakami and the City Collection of Rotterdam through th e Museum Boijmans van Beuningen.
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AS OF THE 22 ND of DECEMBER\, THE GALLERY WILL BE OPEN BY APPOINTMENT ONLY FOR THE HOLID AY PERIOD.
DTEND:20140104 DTSTAMP:20140930T214538 DTSTART:20131116 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Collecting Alibis\, Amie Dicke UID:302800 END:VEVENT BEGIN:VEVENT DTEND:20131116T200000 DTSTAMP:20140930T214538 DTSTART:20131116T180000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Collecting Alibis\, Amie Dicke UID:306751 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The 2013 -2015 exhibition year at Angels Gate Cultural Cente r marks the beginning of a larger concept that explores our local community ’s stories and personal narratives in the galleries. We hope to generate di alogue about how\, as a community\, we can share and communicate regardless of differing opinions and ideologies. The gallery will be turned into an e xperimental space where art and art-making become part of an ongoing conver sation about the community. Through partnerships with local non-profits\, a rtists\, storytellers and the community at large\, the galleries hope to ca pture a slice of Americana that is unique within our nation and particular to Los Angeles. Artist's work will rotate on an ongoing basis. 


DTEND:20150619 DTSTAMP:20140930T214538 DTSTART:20130512 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Gettin' Off the Ground: Contemporary Stories from an American Commu nity UID:276487 END:VEVENT BEGIN:VEVENT DTEND:20130512T200000 DTSTAMP:20140930T214538 DTSTART:20130512T180000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Gettin' Off the Ground: Contemporary Stories from an American Commu nity UID:276488 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In 2007\, the local Audubon Society got word of an anonymous action taken by a resident of San Pedro. A nest box mysteriously appeared one day in Harbor Park along the 110 Freeway. In recent years\, Southern Ca lifornia's western bluebird population has been on the decline. Though it's not fully understood why\, it seems that urban growth and climate change m ay disturb the nesting process. Surprisingly\, bluebirds took to the anonym ously placed box\, depositing gem-like blue eggs. Now the Audubon Club has adopted the park project\, placing more boxes and hosting pairs of birds. < br />
Based on the story of the nesting box\, Out of the Blue i s a visual response by artists from San Pedro's Exceptional Children's Foun dation. Nestled along Gaffey Street\, the ECF studio is a professional work shop where adults with developmental disabilities come to create art. Like the migrating bluebirds\, the artists have found a place where they may exi st creatively\, undisturbed by the outside world. Here\, the act of art-mak ing\, with its intense focus on special objects\, characters\, and dream-in spired landscapes provides shelter for the spirit. Out of the blue\, anythi ng can happen\, but the creative life is our true home. 

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This proje ct was done in partnership with the Exceptional Children's Foundation. 

DTEND:20140110 DTSTAMP:20140930T214538 DTSTART:20130512 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Out of the Blue\, Michele Martínez\, Guadalupe Carbajal\, Christoph er Dao\, Diana López\, Raymond McAdams\, Victor Prieto\, Ralph De la Roca\, Cesar Rodríguez\, Armando Saucedo\, Sarah Woo UID:276575 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

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

DTEND:20140110 DTSTAMP:20140930T214538 DTSTART:20130907 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Picking up the Pieces: a suicide prevention project UID:297067 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Opening Reception for new show in gallery  \;on October 27t h\, 2013 from 4:00pm-6:00pm

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 \;Angels Gate Cultural Center (AGCC) is pleased to exhibit wor k by several Los Angeles based artists that engage in the current conversat ion on community. \;

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 \;For the next few years\, AGCC&rsquo\;s gallery invites the community to share their stories with us. We are interested in how these stories shape the collective consciousness in San Pedro and the South Bay area. As part o f opening up the galleries to hear the voices within the community we have repositioned part of our Main Gallery to be a rotating roundtable discussio n using artwork to stimulate conversations about identity\, place\, fellows hip\, and culture. \; Throughout the exhibitions visitors are asked to consider their lives\, the lives of younger and older generations\, and how a healthy community&rsquo\;s well-being is sustained through the quality o f relationships that individuals form in their community.

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&n bsp\;For this roundtable conversation\, art work by artsts Fabian Debora\, Bia Gayotto\, Robin Johnson\, Narsiso Martin ez\, Sandy Rodriguez\, and John Trevino has been selected. \;

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 \;The opening coincides with our Annual HOWL &\; Scary Stories Halloween event. HOWL lasts from 4 &ndash \; 6pm and Scary Stories from 6:30- 8pm. The event is open to people of all ages.

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 \;Also opening :

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The Family Room space will feature work by AGCC artists.

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 \;Continuing Exhibitions:

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The Community Room will feature work by AGCC studio artists : Paul Carmichael\, Patrick Grugan\, Dennis Keeley\, Jon Nakamura and Frank Rodriguez. The show is brought together under the banner theme\, What We See. Each piece is an exploration of what we see\, what we don&rsqu o\;t see\, and what we think we see. The exhibit was organized by Getty Mul ticultural Intern\, Sabrina Orozco.

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The Community Gallery features Pickin g up the Pieces: a suicide prevention project\, a curated show by Stacey Wexler and Out of the Blue \, a collabora tion between Michele Martí\;nez and developmental disabled artists fr om the ECF Studio in San Pedro.  \;

DTEND:20140110 DTSTAMP:20140930T214538 DTSTART:20131027 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Featured Roundtable to Out of the Blue part II\, Fabian Debora\, Bi a Gayotto\, Robin Johnson\, Narsiso Martinez\, sandy rodriguez\, John Trevi no UID:301432 END:VEVENT BEGIN:VEVENT DTEND:20131027T180000 DTSTAMP:20140930T214538 DTSTART:20131027T160000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Featured Roundtable to Out of the Blue part II\, Fabian Debora\, Bi a Gayotto\, Robin Johnson\, Narsiso Martinez\, sandy rodriguez\, John Trevi no UID:301433 END:VEVENT END:VCALENDAR