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With levity and wit\, Meg Cranston investigates the int ersections between individual and shared experience and how imagery and obj ects acquire meaning in our culture. Equally enamored of the diverse aesthe tics of color theory\, design\, fashion\, and supermarket advertising\, she makes energetic collages pairing found imagery with monochromatic abstract forms. While often taking personal attributes or historical events as a ju mping-off point\, Cranston’s work is equally concerned with the formal lang uage of art and the role the artist plays in helping us see the world in ne w ways. An iconic blonde California girl greets visitors from the east wall in California (Full Size) (2012). A playful nod to the notion of the artist as seer or mystic\, Fireplace 12 (2012)\, on the north wall\, borrows its colors from a spring–summer 2012 color forecast for fash ion and home design. Symbols of the fire that they produce\, the larger-tha n-life lighters conjure everything from rock concerts to religious rituals. Commissioned for Made in L.A. 2012\, the museum’s inaugural bienn ial of work by Los Angeles–based artists\, the murals reflect Cranston’s in terest in weaving together formal experimentation with recognizable cultura l references\, a strategy that she shares with many other artists in our ci ty.

DTEND:20130207 DTSTAMP:20140823T170644 DTSTART:20120602 GEO:34.0593793;-118.4437966 LOCATION:Hammer Museum\,10899 Wilshire Boulevard \nLos Angeles\, CA 90024 SEQUENCE:0 SUMMARY:MEG CRANSTON\, Meg Cranston UID:240615 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130209 DTSTAMP:20140823T170644 DTSTART:20130112 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Terrains\, Julia Haft-Candell UID:250813 END:VEVENT BEGIN:VEVENT DTEND:20130112T200000 DTSTAMP:20140823T170644 DTSTART:20130112T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Terrains\, Julia Haft-Candell UID:250814 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present a solo exhibition featuring new acrylic paintings on canvas and linen by Los Angeles based artist Josh Peters. Interested in making paintings that evoke a sense of inevitability\, Peters attempts to harness the tension between opposing forces in his work\, from the conscious and the unconscious\, to the accid ental and the very deliberate. The paintings are started by wetting the pai nting the back of the canvas or linen (thus seeping through to what will be come the front) and the adding additional elements and textures. in this wa y a great sense of unpredictability unfolds in Peters work\, enabling an am algamation of naked process and careful planning.

Josh Peters received his BFA f rom the University of Massachusetts at Amherst and his MFA from the Mason G ross School of the Arts\, Rutgers University. Peters has had solo exhibitio ns at the Torrance Art Museum\, Torrance\, CA\, Schuebbe Projects in Dussel dorf\, Germany\, Kaycee Olsen Gallery\, Los Angeles\, CA and Sara Nightinga le Gallery\, Water Mill\, New York.

DTEND:20130209 DTSTAMP:20140823T170644 DTSTART:20130112 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:JOSH PETERS\, Josh Peters UID:250815 END:VEVENT BEGIN:VEVENT DTEND:20130112T200000 DTSTAMP:20140823T170644 DTSTART:20130112T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:JOSH PETERS\, Josh Peters UID:250816 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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The Ne w Now brings together a group of artists whose practices cross reference mu ltiple media blur the boundaries traditionally associated with painting\, s culpture\, photography and installation.

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DTEND:20130209 DTSTAMP:20140823T170644 DTSTART:20130112 GEO:34.0332747;-118.3783407 LOCATION:Carter & Citizen\,2648 La Cienega Ave. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:The New Now\, Kelly Kleinschrodt\, Samara Golden\, John Opera\, Ant onio Adriano Puleo\, Analia Saban\, Max Springer\, JPW 3 UID:253559 END:VEVENT BEGIN:VEVENT DTEND:20130112T210000 DTSTAMP:20140823T170644 DTSTART:20130112T180000 GEO:34.0332747;-118.3783407 LOCATION:Carter & Citizen\,2648 La Cienega Ave. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:The New Now\, JPW 3\, Samara Golden\, Kelly Kleinschrodt\, John Ope ra\, Antonio Adriano Puleo\, Analia Saban\, Max Springer UID:253560 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Charlie James Gallery is delig hted to present Eyes Words\, our second solo show of photographs and collag e by LA artist Richard Kraft. A visual work in three movements\, Eyes Words consists of two iterations of Kraft’s Tube Portraits—one a series of large -scale photographic prints\, the other a collection of one hundred miniatur e photographic images. These two rooms are separated by an installation of collages and drawings that are composed entirely of language. Separately an d in relationship to one another\, these three elements probe the tensions between the known and the unknown\, meaning and the inscrutable while creat ing a different kind of space of the imagination and the interior mind.

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Inspired by Walker Evans’s Many Are Call ed\, the Tube Portraits are black-and-white photographic stills from video taken surreptitiously of travelers on the London Underground. Kraft selects and re-photographs split-second moments during which each subject seems to reveal something private and naked in this very public space. He shifts co lor to black-and-white\, then crops tightly on each face\, almost eliminati ng the physical world in which they exist. Many of the faces simply float i n a deep void of black or a haze of gray\, which upon closer inspection sta rt to dissolve into interlaced lines – the face as screen.

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In the first room seven large Tube Portraits are pres ented\, each nearly four feet high. Creating a cathedral-like atmosphere\, the portraits convey a kind of emotional infinity\, each seemingly a window into the complexity of a human life. The presentation in the main gallery is in explicit contrast to the basement installation\, where a grid of one hundred tiny tube portraits will be presented. From a distance this piece i s an abstract composition of grays and blacks against a white background\, but closer inspection reveals multiple series of images (some depicting the same subjects as in the upstairs gallery) each printed in the form of a po stage stamp from an undeclared country.

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Between these two installations the rear gallery installation serves as an interlude of sorts. In this chamber Kraft presents a number of monumenta l text pieces\, one of which\, entitled Ulysses\, is a 5 x 8 foot collage i n which every page of James Joyce’s text has been cut up and reassembled. I n two twinned large scale drawings Kraft reinterprets Franz Kafka’s famous Letter to his Father. Just as the “Tube Portraits” radiate the tension betw een what we can see with our own eyes\, what we may never know\, and what w e might possibly imagine\, these works—though composed only of words—ask th e viewer to ponder the space between meaning and its absence.

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Richard Kraft grew up in London and lives in Los A ngeles. Kraft earned his BFA at Parsons School of Design and his MFA at the University of Michigan. His work has been exhibited in galleries such as L .A. Louver\, Rosamund Felsen\, Greg Kucera and non-profit spaces including the Portland Art Museum\, Bemis Center for Contemporary Art\, the Photograp hic Resource Center\, among others. He has frequently used public spaces fo r installations with work appearing on the sides of buses and in library ai sles\, as well for performances such as at Oxford Circus in London and alon g the full length of Wilshire Boulevard in Los Angeles. In the summer of 20 09\, he conducted a series of performances at Speakers’ Corner in London an d at several rural sites in Scotland and Northern England. Most recently he has embarked on a series of walking performances (for anywhere from one to one hundred walkers). Walks have already taken place in cities such as Los Angeles and Las Vegas\, and remote locations such as Death Valley and the Wendover Airfield in Wendover\, Utah. Siglio Press will publish an artist’s monograph in 2013. Siglio has already released six multiples (100 Soldiers for a Revolution\, Untitled: Kapitan Kloss\, Two Tube Portraits\, R.S. A L ibrary Portrait\, Conturbatio: A Selection and Study for Ulysses/Let’s Look Around ). Kraft has a solo exhibition in the fall of 2013 at the Laguna Ar t Museum.

DTEND:20130209 DTSTAMP:20140823T170644 DTSTART:20121215 GEO:34.066589;-118.2382615 LOCATION:Charlie James Gallery\,969 Chung King Road \nLos Angeles\, CA 9001 2 SEQUENCE:0 SUMMARY:Eyes Words \, Richard Kraft UID:248699 END:VEVENT BEGIN:VEVENT DTEND:20121215T220000 DTSTAMP:20140823T170644 DTSTART:20121215T190000 GEO:34.066589;-118.2382615 LOCATION:Charlie James Gallery\,969 Chung King Road \nLos Angeles\, CA 9001 2 SEQUENCE:0 SUMMARY:Eyes Words \, Richard Kraft UID:248700 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Synthetic Minds\, the Photographs of L aura Menz\, opens at AndrewShire Gallery

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January 12\ , 2013 – February 9\, 2013

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(Los Angeles\, CA—November 27\, 2012)  L aura Menz is a photographer who\, as a professional model\, has been extens ively photographed. Partly as a result\, Menz’s photographs seek to underst and and even construct the self. Who – or even what – am I\, asks Menz in h er photographs.  And\, as photographic collages\, made as much outside the camera as in\, Menz’s images ask the same about themselves.

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In S ynthetic Minds\, opening January 12th at AndrewShire Gallery \, Menz shows three series of photographic works\, “Androids\,” “Three Acts \,” and “Kopfgeburten.” In his essay for the exhibition catalogue\, Peter F rank writes that these three series “regard the self from different angles\ , and in doing so wonder openly what comprises the self\, what defines it\, what it wants to be and what it is forced to be.”

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In the “Androids ” series\, as Frank notes\, the artist presents the self stripped bare\, de void of clothing\, bodily enhancement\, or\, even hair\, reduced to a corpu s.  Looking closer at these oddly transformed bodies (which\, of course\, a re all one and the same body)\, we realize that they are vitalized by some sort of energy radiating through them\, causing them to vibrate even as the y sit stock still. This is the “self as un-still life.”

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In Menz’s “ Three Acts” series\, the self takes advantage of its bodied form to express itself through movement. Menz casts herself here as all Three Graces\, goi ng well beyond the ancient trichotomy of Faith\, Hope\, and Charity.  What is consistent among these relationships is their implied dialectic\, the in ference that the ideational opposition of two of the figures resolves in th e third.  In the end\, all of Menz’s works demonstrate that the “self\,” so mething every one of us has and yet none of us can thoroughly describe\, is forever under construction.

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In the “Kopfgeburten” series (a German term\, “head births\,” meaning mental inventions)\, Menz moves from body t o head\, locating the self in the mind\, and revealing the mind as a battle ground for competing exterior forces. How successfully does the mind resist these invaders? How successfully does it absorb and incorporate them? Wher e\, and how\, do we distinguish ourselves from the outside self\, and from the myriad forces that we pass through and that pass through us?

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Th e exhibition demonstrates that\, as humans\, we need various identities and many personas\, some real and some impossible\, in order to comprehend our selves fully. In doing so\, Menz’s work exposes some of her—and thus our ow n—infinite possible selves.

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AndrewShire Gallery is dedicated to the development and exhibition of innovative contemporary art works by interna tional and local talents.  In addition to its Los Angeles location\, the ga llery established an alternative space in Singapore in 2006.  AndrewShire c ontinues to push the international envelope while remaining an integral par t of the local community.  The gallery is located at 3850 Wilshire Boulevar d #107\, Los Angeles\, CA  90010.  AndrewShire Gallery\, Singapore\, is loc ated at 63 Hillview Avenue #10-13\, Lamb soon Building\, Singapore\, 669569 .

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For further information contact Susan Baik\, Director

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baik@andrewshirega llery.com

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213 389-2601  www.andrewshiregallery.com

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For press inquiries contact Christine Anderson\, Communication Arts + Design ca@comm unicationartsinc.com (310) 869-8957  www.communicationartsinc.com

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DTEND:20130209 DTSTAMP:20140823T170644 DTSTART:20130112 GEO:34.0821315;-118.3826225 LOCATION:CMay Gallery\,8687 Melrose Ave. Space B226\nWest Hollywood\, CA 90 069 SEQUENCE:0 SUMMARY:Synthetic Minds\, the Photographs of Laura Menz\, Laura Menz UID:251880 END:VEVENT BEGIN:VEVENT DTEND:20130112T203000 DTSTAMP:20140823T170644 DTSTART:20130112T180000 GEO:34.0821315;-118.3826225 LOCATION:CMay Gallery\,8687 Melrose Ave. Space B226\nWest Hollywood\, CA 90 069 SEQUENCE:0 SUMMARY:Synthetic Minds\, the Photographs of Laura Menz\, Laura Menz UID:251881 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CONJOINED 3: THE FINAL CHAPTER\, closes the book on the Conjoined Trilogy and for the last and final chapter Copro features some o f the most outrageous and majestic work yet! Classic sculptures\, Lifelike &\; Life sized models\, Surreal assemblages\, mixed media paintings\, Ar t Toys and other conjoined work will all be featured. Curated by Chet Zar t his show will include many artists of Pop-Surrealism as well as motion pict ure industry special effects and Toy Art. Everyone will be pulling out all the stops for THE FINAL CHAPTER so don't miss it! < /p>\n

Participating Artist list: Alex Grey\, Akhito Ikeda\, Bruce Mitchell\, Bill Sturgeon\, Black Mass\, Brian Poor\, Brian Smith\, Cass Mclure\, Chant al Menard\, Chet Zar\, Charles Krafft\, Chris Haas\, Colin Christian\, Crai g LaRotunda\, Daniel Saks\, Dave Grasso\, Dave Pressler\, David Meng\, Davi d Richardson\, Doktor A\, Douglas Thielscher\, Eddie Sparr\, Eli Livingston \, Glenn Hetrick\, Grant Fuhst\, Grant Standard\, Jack Howe\, Jason Hite\, John Cebollero\, Jake Roanhaus\, James Zar\, Jared Gunther\, Jaremy Aiello\ , Jason Hite\, John Haley III\, Johny Chow\, Jesse Gee\, Jeffrey Kibbe\, Ka zu Tsuji\, Kevin Kirkpatrick\, Kevin Mack\, Krys Sapp\, Larkin\, Laurie Has sold\, Mark Setrakian\, Matt Ullman\, Matthew Levin\, Mark Walker\, Meats M eier\, Meesha Goldberg\, Michael McCracken\, Mike Hill\, Mike Regan\, Natha n Cartwright\, Neil Winn\, Neal Kennemore\, Paul Komoda\, R.H. McClurg\, Ri chard Landon\, Rick Zar\, Russ Lukich\, Ryan Petereson\, Sarina Brewer\, Sc ott Stoddard\, Scott Ligon\, Scott Radke\, Simon Lee\, Shifflet Bros\, Thom as Harris Tracey Roberts\, Taslimur\, Thomas Kuebler\, Travis Louie\, Ver M ar\, Vincent VanDyke\, Yvette Endrijautzki\, Zoetica Ebb\, Zombienose &\ ; more!

DTEND:20130209 DTSTAMP:20140823T170644 DTSTART:20130119 GEO:34.0276049;-118.4678444 LOCATION:CoproGallery\,Bergamot Station 2525 Michigan Ave.\, #T-5\nSanta Mo nica\, CA 90404 SEQUENCE:0 SUMMARY:Conjoined III: The Final Chapter\, Chet Zar\, Zombienose\, Group Sh ow UID:252495 END:VEVENT BEGIN:VEVENT DTEND:20130119T233000 DTSTAMP:20140823T170644 DTSTART:20130119T200000 GEO:34.0276049;-118.4678444 LOCATION:CoproGallery\,Bergamot Station 2525 Michigan Ave.\, #T-5\nSanta Mo nica\, CA 90404 SEQUENCE:0 SUMMARY:Conjoined III: The Final Chapter\, Group Show UID:252496 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130209 DTSTAMP:20140823T170644 DTSTART:20130119 GEO:34.0276049;-118.4678444 LOCATION:CoproGallery\,Bergamot Station 2525 Michigan Ave.\, #T-5\nSanta Mo nica\, CA 90404 SEQUENCE:0 SUMMARY:Black Magic: The Art of Chet Zar\, Chet Zar UID:252497 END:VEVENT BEGIN:VEVENT DTEND:20130119T233000 DTSTAMP:20140823T170644 DTSTART:20130119T200000 GEO:34.0276049;-118.4678444 LOCATION:CoproGallery\,Bergamot Station 2525 Michigan Ave.\, #T-5\nSanta Mo nica\, CA 90404 SEQUENCE:0 SUMMARY:Black Magic: The Art of Chet Zar\, Chet Zar UID:252498 END:VEVENT BEGIN:VEVENT DESCRIPTION:

BRAD HOWE: Deprivato

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By

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Peter Frank

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Brad Howe’s reputation precedes him. One of America’s wittiest and most ver satile makers of public art\, a direct stylistic and spiritual inheritor of Alexander Calder and Joan Miró\, a sculptor of broad formal range but cons istently expansive spirit\, Howe has delighted serious and casual audiences for several decades with series after series of artworks that seem to spri ng as much from Santa’s shop as from Brancusi’s. But however pervasive and persistent Howe’s exuberance\, it has its serious side. From the first\, Ho we has always taken his calling as an artist – an abstract artist – quite s oberly\, seeking poetry no less than punch line in his bumptious\, unpredic table formulations. And now he has stepped back to reassess\, and to give v ent to another voice he feels welling in him\, a voice quieter\, more refle ctive\, more guarded than has ever before manifested in his work. It is sti ll the voice of Brad Howe – you can tell that immediately in its grace\, ec onomy\, and lingering hint of humor – but it is Howe’s still small voice\, one that has rarely if ever found exterior expression until now.

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To be sure\, there is still playfulness to these new objects\, and the bright colors and eccentric shapes we associate with Howe’s style have not disapp eared. They have simply retreated behind a partial barrier – hence the seri es’ name\, “Deprivato” – giving them (and us) a chance to quiet down and mo ve into a slower tempo. In doing so\, they underscore Howe’s fealty to the language – the entire vocabulary – of modernism. Indeed\, one of the consid erations motivating Howe to this relatively restrained position is his abid ing interest in predecessors such as Brancusi and Arp\, David Smith and Ell sworth Kelly\, shapers of three dimensions (as well as two) whose sense of form\, of physical space\, was prompted by their drive to find\, admire\, a nd work with the essence of shape. The sense of play lies a little less clo se to the surface in their work\, and Howe wants to examine what happens wh en his own sprightliness recedes a bit\, when it becomes a supporting playe r in his visual theater and lets more classic formal expression come to the fore.

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The portmanteau name “Deprivato” also suggests a loss or lac k\, a diminution of some sort of energy. In this regard\, Howe may be overd oing the self-effacement\; even if we accept that this new sobriety is the expression of a man embracing middle age and its trials\, we don’t see a wa ning of his gifts or of his ability to exploit them. On the other hand\, we are being “deprived” in this series of direct\, full-on access to Howe’ s once-pervasive aesthetic of boisterousness. Behind the smooth\, obdurate si lver barriers of these new works lurk many of the same jocular presences th at have populated Howe’s oeuvre from its beginning\; we just no longer have direct access to them.

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If you give it thought\, however\, these ba rriers are themselves rather coy\, slipping and sliding around the shapes b ehind them so that we can glimpse these shapes\, if only in part. Th is goes doubly for the corrugated Plexiglas boxes encasing some other\, obv iously hot-colored and oddly bent presences. You could say that the newly a ppointed guardians of Howe’s giddy creatures act like chaperones\, keeping their wards in line and keeping their admirers at bay. But the silver walls and distorting encasements have their own sense of play\, and are content to tease us by\, in effect\, lifting and lowering their veils.

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This \, then\, is admittedly the art of a no-longer-young man. It bespeaks not t he gratification of desire but its provocation. It also bespeaks not the re velation of wholes\, but the contemplation of parts\, of what can now be se en rather than what once stood\, evident and unencumbered\, before us. Brad Howe is not retreating behind so many elegant baffles\; doubtless\, some o f his greatest\, wildest\, nakedest\, most high-spirited monuments have yet to appear. But the veteran sculptor has now added a few new arrows to his quiver\, ones that aim lower\, travel less far\, and hit their mark almost by surprise. The important thing\, of course\, is that they are hitting the ir mark.

DTEND:20130209 DTSTAMP:20140823T170644 DTSTART:20130112 GEO:34.0339045;-118.3766384 LOCATION:Katherine Cone Gallery\,2673 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Deprivato\, Brad Howe UID:250016 END:VEVENT BEGIN:VEVENT DTEND:20130112T210000 DTSTAMP:20140823T170644 DTSTART:20130112T180000 GEO:34.0339045;-118.3766384 LOCATION:Katherine Cone Gallery\,2673 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Deprivato\, Brad Howe UID:250017 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Luis De Jesus Los Angeles is pleased to announce Points of Entry\, a solo exhibition of large-scale paintings and an audience interac tive sculpture by MARTIN DURAZO\, on view from January 5 through Feb ruary 9\, 2013.  An artist's reception will take place on Saturday\, Januar y 12th\, from 6:00 to 9:00 p.m. 

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Martin Durazo is the recipient of the 2012 C.O.L.A. Individual Artists Fellowship from the City of Los Angeles and  a 2011 California Community Foundation Fellowship Award\, funded by the Getty Trust. His work was included in the inaugural 2011 SUR Biennia l and in 2010 he was Artist-in-Residence at the 18th  Street Arts Center in Santa Monica. In the last two years\, he has als o been featured in solo projects at NADA Hudson and PULSE LA\, as well as i n group exhibitions at the Torrance Art Museum and galleries and venues in Brussels\, Miami\, Los Angeles\, Basel\, Tokyo\, and New York. 

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< span style="font-size: small\;">Martin Durazo's new paintings combine fluor escent colors--yellows\, pinks\, and reds--with bright metallic silvers\, b lacks\, and iridescent blues and whites\, creating a collision of atmospher ic layers of abstraction\, a palimpsest of social distortion shaped by into xicating forces of club-lighting\, punk and heavy metal music\, narcotics\, and extreme psycho and sexual behaviors.  Employing broad gestural swipes and pools of color\, the paintings distressed surfaces offer enigmatic asso ciations to intense and aggressive environments\, from graffitied walls and gay leather bars to mosh pits and S&\;M clubs\, and more.  Points of Entry is the synthesis of Durazo's varied influences--his ongoing expl oration into fringe subcultures and the expression of personal fulfillment rooted in dangerous excesses. 

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T he second gallery will present an audience-interactive room within a room\, a bastardized version of a meditation room-cum-club complete with sound\, lighting\, reflective surfaces\, and seating.  The concept is tied to his p revious ruminations exploring the symbiotic relationship between the sacred and the profane\, the lurid and the spiritual\, the taboo and the socially acceptable.  In this new iteration\, the large-scale paintings in the firs t gallery will intimate a temple-like environment that may provoke visitors to contemplate an inner calm in the face of a roller-coaster ride of wild existences and unguarded points of entry\, real or imagined.  

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Martin Durazo holds a Master of Fine Arts fr om the University of California\, Los Angeles\, and aBachelor of Arts degre e in English and Art from Pitzer College.  He has exhibited at Luis De Jesu s Los Angeles\, Mark Moore Gallery\, Susanne Vielmetter Los Angeles Project s\, CB1 Gallery\, Torrance Art Museum\, Pomona College Museum of Art\, Harr is Art Gallery at the University of LaVerne\, as wellas White Box in New Yo rk City\; Galería MDF\, Mexico City\; Gallery Lara\, Tokyo\; ArtForum Berli n and Art Basel Miami Beach. His work has been written about in Flash Art I nternational\, the Los Angeles Times\, The New York Times\, LA Weekly\, Art Ltd\, Artweek\, and Art Review.

DTEND:20130209 DTSTAMP:20140823T170644 DTSTART:20130105 GEO:34.0336485;-118.376251 LOCATION:Luis De Jesus Los Angeles\,2685 S. La Cienega Blvd. \nLos Angeles\ , CA 90034 SEQUENCE:0 SUMMARY:Points of Entry\, MARTIN DURAZO UID:251938 END:VEVENT BEGIN:VEVENT DTEND:20130112T210000 DTSTAMP:20140823T170644 DTSTART:20130112T180000 GEO:34.0336485;-118.376251 LOCATION:Luis De Jesus Los Angeles\,2685 S. La Cienega Blvd. \nLos Angeles\ , CA 90034 SEQUENCE:0 SUMMARY:Points of Entry\, MARTIN DURAZO UID:251939 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mark Moore Gallery proudly presents < strong>"Fall Out\," an inaugural solo exhibition of paint ings by San Francisco-based artist\, Andrew Schoultz. In t his exhibition\, Schoultz translates the motifs in his kinetic two-dimensio nal works into a real scale three-dimensional installation – presenting an interrelated combination of painting\, sculpture\, drawing\, and collage. R eferencing the social constructions and implications of a public civic cent er\, museum\, or church\, Schoultz invites the viewer be seated on his hand crafted benches\, and be immersed in the ramifications of our contemporaneo us globalization.

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Sourcing aesthetic inspiration from 15th Century German map making and Indian miniature paintings\, Andrew Scho ultz's frenetic imagery depicts an ephemeral history bound to repeat itself . In his mixed-media works\, notions of war\, spirituality and sociopolitic al imperialism are reoccurring themes\, which shrewdly parallel an equally repetitive contemporary pursuit of accumulation and power. "Fall Out" prima rily investigates the notion of the monumental\, both in its commemorative personification of power structures\, and the increasingly prodigious conse quences of our egocentric consumption. In these works\, undulating bodies o f water recall the devastating realities of global warming\, while American flags stamped with the ubiquitous "Made in China" inscription question our domestic authenticity. Schoultz facilitates a dialogue that is both topica l and ageless\, and prompts the viewer to navigate a physical and visual sp ace suggestive of our cyclical parochialism. While his illustrated world se ems one of chaos and frenzy\, Schoultz also implies a sense of alluring fan tasy and whimsy - a crossroads vaguely reminiscent of the modern world.

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Schoultz (b. 1975\, WI) received his BFA from the Academy of Art University\, San Francisco (CA). He has had solo exhibitions in Los Angeles\, New York\, San Francisco\, Copenhagen\, Philadelphia\, Rotterdam \, Boston\, London\, Portland\, Detroit and Milan. He has been included in group exhibitions at the Andy Warhol Museum (PA)\, Torrance Art Museum (CA) \, Havana Biennial (Cuba)\, Hyde Park Arts Center (IL)\, Laguna Art Museum (CA)\, San Francisco Museum of Modern Art (CA)\, among others. His work can be seen in the public collections of the San Francisco Museum of Modern Ar t (CA)\, Frederick R. Weisman Foundation (CA) and the Progressive Art Colle ction (OH)\, in addition to his publicly funded murals in Portland (ME)\, J ogjakarta (Indonesia) and San Francisco (CA). Schoultz lives and works in S an Francisco (CA).

DTEND:20130209 DTSTAMP:20140823T170644 DTSTART:20130112 GEO:34.0339839;-118.370736 LOCATION:Mark Moore Gallery\,5790 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Fall Out \, Andrew Schoultz UID:250829 END:VEVENT BEGIN:VEVENT DTEND:20130112T200000 DTSTAMP:20140823T170644 DTSTART:20130112T180000 GEO:34.0339839;-118.370736 LOCATION:Mark Moore Gallery\,5790 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Fall Out \, Andrew Schoultz UID:250832 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mark Moore Gallery proudly presents " Smear\," a solo exhibition of paintings by Los An geles-based artist\, Nano Rubio. Rubio is the recipient of the inaugural Moore Family Foundation Grant (MFF Grant) - awarded and juri ed by local curatorial entity\, 5790projects - which includes a financial g rant and Project Room show with Mark Moore Gallery. Engaging with seemingly discordant elements of structure and chaos\, Rubio’s paintings are reminis cent of the “push/pull” spatial qualities associated with abstract expressi onist painters\, such as Hans Hofmann. By composing a background of highly precise line work behind a foreground of loosely gestured swaths of paint\, Rubio engages in a rich interchange between geometric precision and perfor mative mark-marking techniques.

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Rubio’s meticulously r endered lines are derived from a traditional pinstriping technique\, and re call the laborious methodology of hot rod detailing. Seemingly mechanical b ands fill the canvas in waves\, transforming the field into an undulating k ind of optical ambiguity. By contrast\, each foreground features the unpred ictable quality of organic forms - some evoking the haunting presence of th e human likeness while others merely allude to an indexical thumbprint. Rub io’s interest in a duplicitous surface is best exemplified by his manipulat ion of layering and distorting a single medium. While occupying a shared sp ace and makeup\, the paint's variance implies disconnected genres\; an ineq uality that Rubio likens to sociopolitical polarities and limited consumer choice. The relationship between these dissonant practices creates a curiou s terrain in which macro structures rest upon surfaces of micro detailing\; a tension that allows the viewer to magnify or diminish these elements at will. In Rubio's hands\, paint is both the unifying and dividing constituen t of an overall experience\, and ultimately the cartography of his process- oriented execution. Whether it is achieved by filling a punching bag with p aint\, and letting the evidence of his exertion drag across the canvas\, or painstakingly fashioning networks of painterly veins\, Rubio's critique of societal disconnectivity is executed through his own physicality as much a s his conceptual representation.

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Nano Rubio (b.1983) r eceived his MFA from Claremont Graduate University (CGU). He is the recipie nt of a Graduate Fellowship from CGU and a Joan Mitchell Foundation MFA Gra nt Nominee. Rubio has exhibited throughout Southern California at various v enues such as R&\;R Gallery (Los Angeles)\, dA Center for Arts (Pomona)\ , Todd Madigan Gallery (CSU Bakersfield)\, and most recently a solo exhibit ion at George Lawson Gallery (Los Angeles). The artist lives and works in B akersfield\, CA.

DTEND:20130209 DTSTAMP:20140823T170644 DTSTART:20130112 GEO:34.0339839;-118.370736 LOCATION:Mark Moore Gallery\,5790 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Smear\, Nano Rubio UID:250830 END:VEVENT BEGIN:VEVENT DTEND:20130112T200000 DTSTAMP:20140823T170644 DTSTART:20130112T180000 GEO:34.0339839;-118.370736 LOCATION:Mark Moore Gallery\,5790 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Smear\, Nano Rubio UID:250831 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Mihai Nicodim Gallery is pleased to present a group exhibition bringing together artists whose work addresse s the contemporary context of painting within four distinctive practices. W orking primarily within the genre\, all four artists both respond to and em ploy the tactics of gesture’s divisive history. Propositional negotiations exist both between works and within each individual work\, conceptually mit igating notions of process and authorship\, ethos and ornament. Whilst form ally conceding to painting’s storied structures\, each artist simultaneousl y opposes these traditions through the conceptual architecture of compositi on.

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Michiel Ceulers (born 1986 Waregem\, Belgium) Recen t solo exhibitions include Back Once Again Forever\, Juliette Jongma\, Amst erdam (2012)\, Comment Tuer l'Amant de Sa Femme Quand on a Été Élevé Comme Moi dans La Tradition?\, Nicodim Gallery\, Los Angeles (2012) and Des Malen tendus Et Le Temps Perdu\, Ana Cristea Gallery\, New York. Ceulers lives an d works in Brussels.

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Oliver Osborn e (born 1985 Edinburgh\, UK) Recent solo exhibitions include Buy A Good Bed And Good Shoes\, If You Are Not In One You Are In The Other\, Pel es Empire\, London (2010). Recent group exhibitions include Bloomberg New C ontemporaries\, London\, UK (2012) and Jack Lavender\, Oliver Osborne\, Mar co Palmieri\, The Approach\, London (2011). Osborne lives and works in Lond on.

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Yelena Popova (born 1978 Urals\, Russia) Recent sol o exhibitions include Abstract Possible\, East Side Projects\, Birmingham ( 2012)\, Olympic Throw\, Zabludowicz Collection ‘Invites’\, London (2012) an d Solo Show\, Figge Von Rosen Gallery\, Berlin (2012). Popova lives and wor ks in London.

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Stefan Sandner (born 1968 Vienna\, Austri a) Recent solo exhibitions include Text\, Andreas Grimm Galllery\, Munich ( 2011)\, Autonomie und Wirklichkeit\, American Contemporary\, New York (2011 ) and Prokrastination\, Museum 52\, New York (2008). Sandner lives and work s in Vienna. 

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DTEND:20130209 DTSTAMP:20140823T170644 DTSTART:20130112 GEO:34.0255188;-118.3520389 LOCATION:Mihai Nicodim Gallery\,3143 S. La Cienega Blvd\, Unit B Entrance o n Blackwelder\nLos Angeles\, CA 90016 SEQUENCE:0 SUMMARY:Group Show\, Michiel Ceulers\, Oliver Osborne\, Yelena Popova\, Ste fan Sandner UID:254522 END:VEVENT BEGIN:VEVENT DTEND:20130112T200000 DTSTAMP:20140823T170644 DTSTART:20130112T180000 GEO:34.0255188;-118.3520389 LOCATION:Mihai Nicodim Gallery\,3143 S. La Cienega Blvd\, Unit B Entrance o n Blackwelder\nLos Angeles\, CA 90016 SEQUENCE:0 SUMMARY:Group Show\, Michiel Ceulers\, Oliver Osborne\, Yelena Popova\, Ste fan Sandner UID:254523 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On Saturday\, January 5\, 2013\, New Image Art is pleased to present "3 Cowboys\, 2 Drugs and A Skater" a group show with participating artists\, Christopher Cascio\, Bryson Brooks and Holly Hein Brooks\, Marc Cross\, Chad Muska and Panda Sex.  Bringing together three en ergetic groups of American youth culture\; Western cowboys\, The Drugs Crew and Skate boarding.

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About the artists-

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Christopher Cascio (Cowboy)

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Christopher Cascio works with themes of obsess ion\, compulsion and collection\, primarily through collage.  He makes no s ecret of his history with mind-altering substances\, and he clearly has a p ropensity for hoarding.  Combine these tendencies with an intense creative impulse and you've got a uniquely twisted art form - collages that tell a v ery personal story of habitual consumption and compulsive collecting.  Casc io seeks out images that directly relate to his own experiences then prints \, cuts and organizes them into categorical compositions\; the remnants of these cuttings meticulously saved for futures unknown.  The artist's youthf ul passions provide a source for his work\, the evidence of which is carefu lly collected\, aestheticized and exposed for our viewing pleasure. Cascio graduated from the San Francisco Art Institute in 1999 and is expecting to complete his Master of Painting from the University of Houston in 2013.  Re cently he has shown at Front Gallery\, Cardoza Fine Art\, Lawndale Art Cent er and UTSA Satellite Gallery (San Antonio).

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During 2001 Christophe r Cascio along with Martin Simmons showed at New Image Art as the collabora tive duo\, "The Uncomfortable Jams". The Jams not only had a solo exhibitio n of their comic based artwork but also performed a musical performance bas ed mostly about their fast food obsession.

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Bryson Brooks an d Holly Hein Brooks (Cowboy + Cowgirl)

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Bryson Brooks and Holly Hein Brooks are a married artist duo that live and work in Texas. Their col laborative works focus on western themes: cowboys\, horses\, easy riders\, motorcycles\, iconic stars\, and figurative abstractions. Their works inclu de 24-karat gold leaf as one of their mediums\; glitzy explores a variety o f gestural westerns. Holly and Bryson also do performances and Bryson is in a band.

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Chad Muska (Skater)

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Pro skateboarding icon Chad Muska recalls art being a monumental part of his life for as long as he can remember. From his graffiti and sketchbook days as a teenager\, Muska was introduced to graphic\, logo\, shoe and apparel design during his rise to fame as a professional skateboarder. After tearing his ACL\, art q uickly started to rival skateboarding as a personal outlet\, until it becam e an obsession. The artist's inspirations are purely instinctual\, proclaim ing insightful messages of overcoming obstacles.

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Marc Cros s (Drugs Crew)

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Marc Cross is a member of the San Francisco DRUG S Crew and currently lives in New York. He dropped out of the San Francisco Art Institute and takes pictures occasionally.

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Cross is exhibiting wove n blankets made from photos he took of homeless people sleeping on the stre ets of New York City. 

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Panda Sex (Drugs Crew)  

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San Francisco based artist Panda Sex is a member of the DRUGS CREW and a p rominent figure-head in the San Francisco graffiti scene. Panda Sex explore s the humorous boundaries between graffiti and "high art."  His work often draws on the imagery of early style video games and expresses the artist's zany sense of humor. 

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After receiving recognition in the Los Angele s MOCA's "Art in the Streets\," exhibition the DRUGS CREW is now recognized as a world-wide brand and the standard for originality\, psychedelia\, and has been garnering much respect for their futuristic sensibilities.

DTEND:20130209 DTSTAMP:20140823T170644 DTSTART:20130105 GEO:34.0907059;-118.3621338 LOCATION:New Image Art Gallery\,7920 Santa Monica Blvd. \nWest Hollywood\, CA 90046 SEQUENCE:0 SUMMARY:3 Cowboys\, 2 Drugs\, and a Skater\, Christopher Cascio\, Holly Hei n & Bryson Brooks\, Marc Cross\, Chad Muska\, Panda Sex UID:252177 END:VEVENT BEGIN:VEVENT DTEND:20130105T220000 DTSTAMP:20140823T170644 DTSTART:20130105T190000 GEO:34.0907059;-118.3621338 LOCATION:New Image Art Gallery\,7920 Santa Monica Blvd. \nWest Hollywood\, CA 90046 SEQUENCE:0 SUMMARY:3 Cowboys\, 2 Drugs\, and a Skater\, Holly Hein & Bryson Brooks\, C hristopher Cascio\, Marc Cross\, Chad Muska\, Panda Sex UID:252178 END:VEVENT BEGIN:VEVENT DESCRIPTION:

OHWOW is pleased to announce Michael Genovese's second solo exhibition with the gallery\, titled < em style="font-size: small\;">Lines and Cracks and Zebras and Horses\, presenting a recently completed body of work based on lineation\, cleave\, and the concept implied by the a phorism: "When you hear hoof beats behind you\, don't expect to see a zebra ." A series of plasma-cut steel wall reliefs located throughout the gallery compose a subtle arrangement based equally on materiality and concept.

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These raised\, sculptural "drawings" suggest following the maxim that commo n sense is the shortest distance between two points or to recognize the gra ce in directness. Genovese recreates various\, common occurrences of line – an architectural fracture\; a hair in the bathtub\; the mark of automatic writing\; a military line of demarcation\; a varicose vein\, or a simple fa bric seam. He considers where these delineations appear\, why they develop\ , and how they are finally perceived. With a piece titled Mimesis\ , 2013\, Genovese merges a crack found in a Pompeii fresco with a line from Metallica's …And Justice for All album cover artwork. By stitchin g these unrelated strands together\, Genovese formulates a new pattern\, bu t one that still reads as spontaneous as chance. The compound of seemingly disparate fissures subsequently reveals self-similar patterns\, as in the l ogic of fractal mathematics. Therefore\, variations in contour between unre lated sources are not as far removed from one other as they may first appea r\, and conceptually framed\, what one assumes a chasm may actually serve a s a suture.

Michael Genovese creates work that aims to connect w ith collective experiences\, be it social or existential. He speaks to the familiar\; however\, through mark making\, reduction\, or transformation of the recognizable\, he reassigns power. Rather than eliminating evidence or obscuring facts\, he re-contextualizes our perception of meaning and histo ry. His work deals with archives\, permanence\, and the designation of valu e. His concern with materiality and the treatment of his chosen media furth ers his investigation of worth. Genovese's particular approach\, and the wo rk's content\, move to alter our preconceptions\, changing our proximity to what is tangible. Lines and Cracks and Zebras and Horses traces p ressure\, time\, and the role of division\, or more aptly put\, it traces t he ideology of those measures\, questioning why we don't see something for what it isn't.

Michael Genovese (b. 1976\, Chic ago\, IL) currently lives and works in Los Angeles\, CA. Genovese's work ha s exhibited at the Museum of Contemporary Art\, Chicago\, IL\; University o f Texas at San Antonio\, San Antonio\, TX\; Chicago Cultural Center\, Chica go\, IL\; Patricia and Philip Frost Museum\, and Miami Art Museum\, Miami\, FL. OHWOW will be publishing a catalogue to accompany the exhibition\, inc luding artist notes\, images\, and sketches\, along with an essay by Shamim Momin.

DTEND:20130209 DTSTAMP:20140823T170644 DTSTART:20130112 GEO:34.0880307;-118.3766156 LOCATION:OHWOW Los Angeles\,937 N. La Cienega \nLos Angeles\, CA 90069 SEQUENCE:0 SUMMARY:Lines and Cracks and Zebras and Horses\, Michael Genovese UID:248701 END:VEVENT BEGIN:VEVENT DTEND:20130112T210000 DTSTAMP:20140823T170644 DTSTART:20130112T190000 GEO:34.0880307;-118.3766156 LOCATION:OHWOW Los Angeles\,937 N. La Cienega \nLos Angeles\, CA 90069 SEQUENCE:0 SUMMARY:Lines and Cracks and Zebras and Horses\, Michael Genovese UID:248702 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Remembrance of things past is not necessarily the remembrance of thi ngs as they were.

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- Marcel Proust

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Continuing our Critical Curatorial Series\, the UAG prese nts If Memory Serves\, an interdisciplinary exhibition of internat ional emerging artists. Conventionally\, we understand memory as reflecting a coherent personal history. However\, memory simultaneously produces an i llusory chronicle — a paradoxical combination of what is lived and what is perceived. We might ask\, therefore: what or whom does memory serve? As a response to this quandary\, If Memory Serves examines the act of remembrance as both an individual and collective production. Through and across various mediums — including hyperrealist drawing\, large-scale installation\, abstract sculpture\, narrative photography and film — the ex hibited artworks ultimately uncouple memory from linear storytelling. In so doing\, the difference between global versus local\, private versus public \, and the sublime versus the real are collapsed. As reconceived through th ese artworks\, memory thus performatively binds the subject's "inner" and " outer" worlds in the most poetic form. Curated by Kellie Lanham\, Isabel Th eselius\, and Allyson Unzicker.

DTEND:20130209 DTSTAMP:20140823T170644 DTSTART:20130110 GEO:33.6485224;-117.8443304 LOCATION:UCI Art Gallery\,UC Irvine 712 Arts Plaza \nIrvine\, CA 92697-2775 SEQUENCE:0 SUMMARY:If Memory Serves: a Critical Curatorial Program Exhibition\, Martin a Sauter\, Judith Raum\, Bessie Kunath\, Tamara Henderson\, Martin Dahlqvis t\, Cristina David UID:247958 END:VEVENT BEGIN:VEVENT DTEND:20130110T210000 DTSTAMP:20140823T170644 DTSTART:20130110T180000 GEO:33.6485224;-117.8443304 LOCATION:UCI Art Gallery\,UC Irvine 712 Arts Plaza \nIrvine\, CA 92697-2775 SEQUENCE:0 SUMMARY:If Memory Serves: a Critical Curatorial Program Exhibition\, Martin Dahlqvist\, Cristina David\, Tamara Henderson\, Bessie Kunath\, Judith Rau m\, Martina Sauter UID:247959 END:VEVENT END:VCALENDAR