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Organized by the American Folk Art Museum\, an exhibition of over 100 outstanding works of art from its c ollection will be on view in New York City from May 14 &ndash\; August 17\, 2014. SELF-TAUGHT GENIUS &ndash\; Treasures from the American Folk Art Museum will then travel across the country\, and Min gei International Museum will be the only west coast museum to show the exh ibition.

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The exhibition will feature masterpieces in a variety of forms including textiles and needlework\, cera mics\, sculptural and carved figures\, drawings\, paintings\, furniture\, a nd much more\, dating from the 18th century to the present. Rare treasures reflecting highly personal narratives\, these works have been omitted from many presentations of American art\, yet they offer crucial commentary with in the ongoing national conversation. SELF-TAUGHT GENIUS reveals the challenges and triumphs of America as it emerged and en hances an understanding of our evolving national identity. Select objects f rom Mingei&rsquo\;s collection of American folk art will be included in its presentation in San Diego.

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SELF-TAUGHT GENIUS is part of the AMERICAN ICONS Exhibition Series. Beginning in June 2014 and throughout 2015 Mingei International Museum wil l mount a series of exhibitions to celebrate the imagination\, inspiration and innovation of Americans who have for more than three centuries created stunning works of folk art\, craft and design &ndash\; our shared American Icons. AMERICAN ICONS is generously sponsored by Just Folk.

DTEND:20150816 DTSTAMP:20150202T011950 DTSTART:20150418 GEO:32.7314223;-117.1510527 LOCATION:Mingei International Museum - San Diego\,1439 El Prado Balboa Park \nSan Diego\, CA 92101 SEQUENCE:0 SUMMARY:Self-Taught Genius – Treasures from the American Folk Art Museum UID:372237 END:VEVENT BEGIN:VEVENT DTEND:20150418T160000 DTSTAMP:20150202T011950 DTSTART:20150418T100000 GEO:32.7314223;-117.1510527 LOCATION:Mingei International Museum - San Diego\,1439 El Prado Balboa Park \nSan Diego\, CA 92101 SEQUENCE:0 SUMMARY:Self-Taught Genius – Treasures from the American Folk Art Museum UID:372238 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alice Hudson was a lifelong\, dedicated artist who delved into the world of the imagination\, creating sm all human and animal figures&mdash\;and\, indeed\, a world to astonish and delight. Procession\, made by Hudson over more than 25 years until late in her life\, for her daughter\, Elizabeth\, who collaborated with Hu dson on various creations. Elizabeth Bronson has kindly offered as a loan t o Mingei International Museum.

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This w ork\, never before shown publicly in its completed form\, adds a touch of t he fanciful and fantastic to the Museum&rsquo\;s 2015 series of exhibitions \, AMERICAN ICONS\, and serves as a memorial to Hudson.

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Adjacent to Procession\, one can find A Pal ace for Wednesday\, Hudson&rsquo\;s beloved work\, which has been a tr easure of Mingei&rsquo\;s collection since 1999 and which recently was reho used in the Museum&rsquo\;s expanded Doll and Toy Gallery.

DTEND:20151205 DTSTAMP:20150202T011950 DTSTART:20141219 GEO:32.7314223;-117.1510527 LOCATION:Mingei International Museum - San Diego\,1439 El Prado Balboa Park \nSan Diego\, CA 92101 SEQUENCE:0 SUMMARY:Procession\, Alice Hudson UID:372236 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Milton Wichner Collection at the Long Beach Museum of Art illuminates a significant aspect of art his tory in Southern California. In the 1930s and &lsquo\;40s\, Southern Califo rnia became a creative refuge for European artists fleeing the ravages of W orld War II. Milton Wichner arrived in Los Angeles in 1936 to set up his la w practice. His interest in European modern abstraction was intensified upo n meeting Galka Scheyer\, a representative of the artists Oskar Fischinger\ , Laszlo Moholy-Nagy\, Wassily Kandinsky\, Lyonel Feininger\, and Alexej Ja wlensky. At Scheyer&rsquo\;s exhibitions\, Wichner saw contemporary Europea n Modernists paintings on the west coast for the first time. Scheyer&rsquo\ ;s efforts to interest Southern Californians in this work met with minimal success at the time\, but Wichner was convinced and was especially enthusia stic about the colorful work of Jawlensky. With this exhibition\, the Museu m welcomes back five striking paintings by Jawlensky that have been on loan to the Getty Museum since 2011.

DTEND:20150412 DTSTAMP:20150202T011950 DTSTART:20150219 GEO:33.763173;-118.166784 LOCATION:Long Beach Museum of Art\,2300 East Ocean Blvd. \nLong Beach\, CA 90803 SEQUENCE:0 SUMMARY:Milton Wichner Collection\, Alexej Jawlensky UID:372234 END:VEVENT BEGIN:VEVENT DTEND:20150219T200000 DTSTAMP:20150202T011950 DTSTART:20150219T110000 GEO:33.763173;-118.166784 LOCATION:Long Beach Museum of Art\,2300 East Ocean Blvd. \nLong Beach\, CA 90803 SEQUENCE:0 SUMMARY:Milton Wichner Collection\, Alexej Jawlensky UID:372235 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Color is a powerful tool in th e artist&rsquo\;s repertoire\, but what happens when artists eliminate colo r and depend upon the stark contrast of black and white to convey all of th eir visual expression? Over the last two years\, the Museum has presented f irst Seeing Red followed by the Many Moods of Blue\, both drawn from the Museum&rsquo\;s permanent collection. Presence and Abse nce: Black and White explores the permanent collection through black a nd white in many different media and formats including paintings\, glass\, and ceramics. Color\, when it appears at all\, becomes a nearly fleeting\, subtle accent.

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This selection of artw orks offers an eloquent argument for the evocative presence of black and/or white. Rather than the distraction of color\, the eye rests on the shapes and forms for the aesthetic experience of the work. The selected artworks m ay be either completely black or completely white\, or play with the contra st of the two. The overall impact is simultaneously restrained\, refined\, energetic\, and elegant.

DTEND:20150412 DTSTAMP:20150202T011950 DTSTART:20150219 GEO:33.763173;-118.166784 LOCATION:Long Beach Museum of Art\,2300 East Ocean Blvd. \nLong Beach\, CA 90803 SEQUENCE:0 SUMMARY:Presence and Absence: Black and White UID:372232 END:VEVENT BEGIN:VEVENT DTEND:20150219T200000 DTSTAMP:20150202T011950 DTSTART:20150219T110000 GEO:33.763173;-118.166784 LOCATION:Long Beach Museum of Art\,2300 East Ocean Blvd. \nLong Beach\, CA 90803 SEQUENCE:0 SUMMARY:Presence and Absence: Black and White UID:372233 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Small Treasures featu res rarely seen objects in ceramic\, glass\, metal and wood in the Kitty Ro senbaum Gallery on the second floor of the Museum. There are two necklaces and small sculptures by Claire Falkenstein\, and a necklace by Frank E. Cum mings among the small pieces.

DTEND:20150531 DTSTAMP:20150202T011950 DTSTART:20141030 GEO:33.763173;-118.166784 LOCATION:Long Beach Museum of Art\,2300 East Ocean Blvd. \nLong Beach\, CA 90803 SEQUENCE:0 SUMMARY:Small Treasures\, Claire Falkenstein\, Frank E. Cummings UID:372231 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150426 DTSTAMP:20150202T011950 DTSTART:20150402 GEO:34.6971699;-118.1480359 LOCATION:Lancaster Museum of Art and History\,665 West Lancaster BLVD (Corn er of Ehrlich Ave. and Lancaster BLVD)\nLancaster \, CA 93534 SEQUENCE:0 SUMMARY:30th Annual Juried Art Exhibition UID:372229 END:VEVENT BEGIN:VEVENT DTEND:20150402T200000 DTSTAMP:20150202T011950 DTSTART:20150402T110000 GEO:34.6971699;-118.1480359 LOCATION:Lancaster Museum of Art and History\,665 West Lancaster BLVD (Corn er of Ehrlich Ave. and Lancaster BLVD)\nLancaster \, CA 93534 SEQUENCE:0 SUMMARY:30th Annual Juried Art Exhibition UID:372230 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150426 DTSTAMP:20150202T011950 DTSTART:20150402 GEO:34.6971699;-118.1480359 LOCATION:Lancaster Museum of Art and History\,665 West Lancaster BLVD (Corn er of Ehrlich Ave. and Lancaster BLVD)\nLancaster \, CA 93534 SEQUENCE:0 SUMMARY:30th Annual High School Show UID:372227 END:VEVENT BEGIN:VEVENT DTEND:20150402T200000 DTSTAMP:20150202T011950 DTSTART:20150402T110000 GEO:34.6971699;-118.1480359 LOCATION:Lancaster Museum of Art and History\,665 West Lancaster BLVD (Corn er of Ehrlich Ave. and Lancaster BLVD)\nLancaster \, CA 93534 SEQUENCE:0 SUMMARY:30th Annual High School Show UID:372228 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Drawing practices in Los Angel es varied tremendously during the 1960s and 1970s. Culled from LACMA&rsquo\ ;s collection and select local holdings\, Drawing in L.A.: The 1960s an d 1970s features work by nearly 50 artists who approach drawing in num erous media and styles. \;Works range in technique from charcoal and in k to collage and xerography\, and encompass realism\, conceptual drawings a nd abstraction. The exhibition includes drawings by well known artists\, an d others who have long been neglected.

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The exhibition provides a unique opportunity to see the wide variety of d rawings that were being made in Los Angeles at an exciting time in the city 's artistic history. The companion exhibition Ed Moses: Drawings from the 1960s and 1970s \;features t he work of a significant figure in contemporary art in Los Angeles.

DTEND:20150802 DTSTAMP:20150202T011950 DTSTART:20150510 GEO:34.062785;-118.3587631 LOCATION:LACMA - Los Angeles County Museum of Art\,5905 Wilshire Avenue \nL os Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Drawing in L.A.: The 1960s and 1970s UID:372225 END:VEVENT BEGIN:VEVENT DTEND:20150510T200000 DTSTAMP:20150202T011950 DTSTART:20150510T110000 GEO:34.062785;-118.3587631 LOCATION:LACMA - Los Angeles County Museum of Art\,5905 Wilshire Avenue \nL os Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Drawing in L.A.: The 1960s and 1970s UID:372226 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ed Moses has been a significan t figure in contemporary art in Los Angeles since his first solo exhibition at Ferus Gallery in 1958. Since the very beginning\, drawing has been cent ral to Moses&rsquo\;s practice. From his large\, all-over graphite drawings of roses from the 1960s to his signature diagonal grids of the 1970s and b eyond\, Moses&rsquo\;s work has always been grounded in graphic experimenta tion.

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The first museum presentation o f the artist&rsquo\;s drawings since 1976\, \;Ed Moses: Drawings fr om the 1960s and 70s \;is comprised of approximately 100 works fro m LACMA&rsquo\;s collection\, the artist&rsquo\;s own holdings\, and those of other museums and private collections. \;

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Complementing \;Ed Moses \;is \;Drawing in L.A.: The 1960s and 1970s\, wh ich features drawings from LACMA&rsquo\;s collection by other Los Angeles&n dash\;based artists.

DTEND:20150802 DTSTAMP:20150202T011950 DTSTART:20150510 GEO:34.062785;-118.3587631 LOCATION:LACMA - Los Angeles County Museum of Art\,5905 Wilshire Avenue \nL os Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Drawings from the 1960s and 1970s\, Ed Moses UID:372223 END:VEVENT BEGIN:VEVENT DTEND:20150510T200000 DTSTAMP:20150202T011950 DTSTART:20150510T110000 GEO:34.062785;-118.3587631 LOCATION:LACMA - Los Angeles County Museum of Art\,5905 Wilshire Avenue \nL os Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Drawings from the 1960s and 1970s\, Ed Moses UID:372224 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Long before the boundaries of In dia were delineated on a map\, they were understood to encompass a vast sac red geography. The features of this landscape marked the abodes and activit ies of gods\, the paths of spiritual teachers\, and places associated with epic and religious texts. Over the course of several millennia\, circuits o f pilgrimage linked these various sites\, reinforcing for India&rsquo\;s in habitants the concept of a unified land. Landscapes of Devotion: Visual izing Sacred Sites in India explores the various ways in which this sa cred geography was imagined and documented in the 18th and 19th centuries.< /p>\n

The exhibition consists of Indian cou rtly and temple paintings and colonial-era photographs drawn from LACMA&rsq uo\;s collection. A considerable number of paintings depict Krishna in his north Indian homeland of Braj\, and Shiva in the Himalayas\, showing just h ow very closely the two regions are identified with these Hindu gods. Along with other paintings\, which address India&rsquo\;s sacralized landscape f rom diverse perspectives\, they provide a glimpse into the extraordinary cr eativity and stylistic range of Indian pictorial traditions. The photograph s in the exhibition correlate in subject matter with several of the paintin gs. They suggest the visual appeal of India to late 19th-century British ph otographers\, who pursued their own kind of pilgrimage as they documented i ts sacred places and practices.

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DTEND:20151025 DTSTAMP:20150202T011950 DTSTART:20141025 GEO:34.062785;-118.3587631 LOCATION:LACMA - Los Angeles County Museum of Art\,5905 Wilshire Avenue \nL os Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Landscapes of Devotion: Visualizing Sacred Sites in India UID:372222 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Irvine Museum presents CALIFORNIA: This Golden Land of Promise\, an exhibition that displays paintings dealing with our state's remarkable history. \; Many of the paintings feature our historic Spanish missions as well as our beautiful la ndscape.

From the 1540s\, California was a distant colony of Spain\, somewhat isolated from the mother country until the missions were b uilt. \; Although the missions in Baja California are older\, the first mission in what is now the State of California was founded in San Diego in 1769. \; For the next fifty years\, 21 missions were founded throughou t California\, stretching as far north as Sonoma County. \; They were a ll connected by El Camino Real\, the Royal Road or the King&rsquo\;s Highwa y\, which today approximates Highway 101.

In 1821\, Mexico dec lared its independence from Spain and claimed California as a province.&nbs p\; In the early 1830s\, a series of laws secularized the missions\, thus t aking them and their vast land holdings away from the Catholic Church\, and through the land grant system\, were given to large cattle ranchos.

The Rancho Period\, lasting until the American conquest of Californi a in 1848\, was characterized by vast ranchos in Southern California\, some comprising over 100\,000 acres or more. \; At this time\, California's main product was cattle\, not for the meat but for the hides\, horns and f at\, which was turned into tallow.

By 1850\, when California b ecame the 31st State of the Union\, most missions were abandoned and in rui ns. \; Through an executive order\, President Lincoln returned what was left of the mission buildings to the church. \; It was not until the 1 890s\, when artists began to portray the missions as relics of California&r squo\;s romantic past that a serious effort was made to preserve and restor e them.

The earliest views of the California missions in our e xhibition are selections from a set of etchings by Henry Chapman Ford (1828 -1894)\, published in 1883. \; The oldest painting on display is the co urtyard of the Mission San Juan Capistrano\, painted by Alexander Harmer (1 856-1925) in 1886. \; At the time\, what is now one of the most beautif ul gardens in California is shown as a dry\, dusty yard\, with just a few g eraniums growing against the pillars of the arcade.

CALIFO RNIA: This Golden Land of Promise is accompanied by two informative an d fully illustrated books on the remarkable history of our Golden State: California\, This Golden Land of Promi se\, published in 2001\, and Romance of the Bells: The California Missions in Art published in 1995.

DTEND:20150521 DTSTAMP:20150202T011950 DTSTART:20150124 GEO:33.6712444;-117.858098 LOCATION:Irvine Museum\,18881 Von Karman Ave. Ste. 1000 \nIrvine\, CA 92612 SEQUENCE:0 SUMMARY:California: This Golden Land of Promise\, Henry Chapman Ford\, Alex ander Harmer\, Edwin Deakin\, William Wendt\, Charles Rollo Peters\, Willia m Hahn UID:372221 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Nancy Rubin s transforms industrial\, manufactured objects&mdash\;such as matt resses\, appliances\, and boats&mdash\; into the building blocks of her phy sically commanding monumental sculptures. Her solo exhibitions include thos e hosted by Museum of Contemporary Art\, San Diego\; MoMA\, New York\; ARTP ACE\, San Antonio\; Miami Art Museum\; SculptureCenter\, Long Island City\, New York\; Lincoln Center\, New York\; and Navy Pier\, Chicago.

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Biography

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Nancy Rubins was born in Naples\, Texas\, raised in Tullahoma\, Tennessee\, and studied at the Maryland Institute\, C ollege of Art\, Baltimore (BFA\, 1974) and the University of California\, D avis (MFA\, 1976). She currently lives and works in Topanga Canyon\, Califo rnia. Her work is part of numerous public collections\, including The Museu m of Modern Art\, New York\; Whitney Museum of American Art\, New York\; Mu seum of Contemporary Art\, Los Angeles\; Museum of Contemporary Art\, San D iego\; and FRAC Bourgogne\, Dijon\, France. Her solo museum exhibitions inc lude those hosted by Museum of Contemporary Art\, San Diego (1994)\; The Mu seum of Modern Art\, New York (1995)\; ARTPACE\, San Antonio (1997)\; Miami Art Museum (1999)\; Fonds regional d'art contemporain de Bourgogne\, Franc e (2005)\; SculptureCenter\, Long Island City\, New York (2006)\; Lincoln C enter\, New York (2006)\; and Navy Pier\, Chicago (2013). Rubins&rsquo\; la rge scale\, outdoor sculptures are on permanent display at institutions thr oughout the world\, including the Museum of Contemporary Art\, Los Angeles\ , Albright Knox Art Gallery\, Buffalo\, and l'Université\; Paris Dide rot\, Paris.

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DTEND:20150225T203000 DTSTAMP:20150202T011950 DTSTART:20150225T193000 GEO:34.0593793;-118.4437966 LOCATION:Hammer Museum\,10899 Wilshire Boulevard \nLos Angeles\, CA 90024 SEQUENCE:0 SUMMARY:UCLA Department of Art Lecture: Nancy Rubins\, Nancy Rubins UID:372220 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Highly regarded as both a leading practit ioner of conceptualism and an influential educator \;at the California Institute of the Arts\, Los Angeles-based artist \;Charles Gain es is celebrated for \;his photographs\, drawings\, and works on paper that investigate how rules-based procedures \;construct order and meaning. Working serially in progressive and densely layered bodies of& nbsp\;works\, Gaines explores the interplay between objectivity and interpr etation\, the systematic \;and the poetic. His groundbreaking work of t his period serves as a critical bridge between the \;first generation c onceptualists of the 1960s and 1970s and those artists of later generations  \;exploring the limits of subjectivity and language. Charles Gaines: Gridwork 1974&ndash\;1989< /em> is the \;first museum survey of the early work of a career that no w spans four decades and includes \;rare and never-before-seen works\, some of which were presumed lost.

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Charles Gaines: Gridwork 1974-1989 \;is organized by The Studio M useum in Harlem and curated by Naima J. Keith\, associate curator. The Hamm er's presentation is organized by Anne Ellegood\, senior curator\, and Jami llah James\, assistant curator.

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Charl es Gaines (b. 1944) received his MFA from the Rochester Institute of Techno logy in 1967. Over the course of his career\, he has been represented by Le o Castelli Gallery and John Weber Gallery\, New York\; Margo Leavin Gallery \, Los Angeles\; Young Hoffman\, Chicago\; Richard Heller\, San Francisco\; and Galerie Lavignes-Bastille\, Paris. He is currently represented by Susa nne Vielmetter Los Angeles Projects and Paula Cooper Gallery\, New York. In 2013\, he received a John Simon Guggenheim Memorial Foundation Fellowship and presented a critically acclaimed solo exhibition\, \;Notes on S ocial Justice\, at Paula Cooper Gallery\, New York. In 2012\, Gaines w as the subject of a mid-career survey at the Pomona College Museum of Art a nd the Pitzer College Art Gallery in Claremont\, California. His works are in the collections of the Hammer Museum\, Los Angeles\; Museum of Contempor ary Art\, Los Angeles\; the Museum of Modern Art\, New York\; the Whitney M useum of American Art\, New York\; Los Angeles County Museum of Art\, Los A ngeles\, Lentos Museum\, Linz\, Austria\; Galerie der Stadt Esslingen\, Ess lingen\, Germany\; and Villa Merkel\, Esslingen\, Germany. Gaines&rsquo\;s work has been featured in recent major group exhibitions including \;Blues for Smoke \;(Museum of Contemporary Art\, Los Angeles\, 20 12) and \;Now Dig This! Art and Black Los Angeles 1960&ndash\;1980& nbsp\;(Hammer Museum\, Los Angeles\, 2011). He has participated in the 2014 Montreal Biennial and the 2007 Venice Biennale\, as well as group exh ibitions at the Los Angeles County Museum of Art\; Museum of Contemporary A rt\, Los Angeles\; Hammer Museum\, Los Angeles\; Lentos Museum\; Deichtorha llen\; Kunsthalle Basel\; Contemporary Art Museum\, Houston\; and REDCAT Ga llery. Gaines has published several essays on contemporary art\, including &ldquo\;Theater of Refusal: Black Art and Mainstream Criticism&rdquo\; (Uni versity of California\, Irvine\, 1993) and &ldquo\;The New Cosmopolitanism& rdquo\; (California State University\, Fullerton\, 2008). He currently resi des in Los Angeles and has been full-time faculty in the School of Art at t he California Institute of the Arts since 1989.

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The organization of Charles Gaines: Gridwork 1974-1989 is made possible by a grant from The Andy Warhol Foundation for the Visual Arts. Th e Hammer Museum's presentation is generously supported by Heidi and Erik Mu rkoff.

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Charles Gain es: Gridwork 1974-1989 is presented in conjunction with Charles Ga ines: Librettos: Manuel de Falla/Stokely Carmichael at Art + Practice\ , a new art and social services non-profit in Leimert Park.

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\n DTEND:20150524 DTSTAMP:20150202T011950 DTSTART:20150207 GEO:34.0593793;-118.4437966 LOCATION:Hammer Museum\,10899 Wilshire Boulevard \nLos Angeles\, CA 90024 SEQUENCE:0 SUMMARY:Gridwork 1974-1989\, Charles Gaines UID:372218 END:VEVENT BEGIN:VEVENT DTEND:20150207T170000 DTSTAMP:20150202T011950 DTSTART:20150207T110000 GEO:34.0593793;-118.4437966 LOCATION:Hammer Museum\,10899 Wilshire Boulevard \nLos Angeles\, CA 90024 SEQUENCE:0 SUMMARY:Gridwork 1974-1989\, Charles Gaines UID:372219 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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The technique known as frottage\, from the French ve rb frotter\, meaning &ldquo\;to rub\,&rdquo\; is an automatic draw ing method developed by the artist Max Ernst. It involves rendering an imag e by placing a sheet of paper over an object or dimensional surface and rub bing it with a marking agent such as graphite or wax crayon. This relativel y simple procedure&mdash\;which combines elements of drawing\, printmaking\ , and sculpture&mdash\;generates sophisticated and unexpected compositions that capture both the indexical and the more elusive properties of objects. The French poet and painter Henri Michaux coined the term apparitions< /em> for his frottages: images that are dictated by chance as much as by ch oice and that emerge onto the surface of the paper. A favored technique amo ng surrealist draftsmen\, frottage continued to be explored throughout the twentieth century and remains an experimental practice in studios today.

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Apparitions: Frottages and Rubbings from 1860 to Now is the first museum exhibition to explore both the h istorical roots and the contemporary impact of this technique. It will feat ure key examples of the technique by artists from various periods and regio ns\, from historical figures like the Czech surrealists Jindřich &Scaron\;t ýrský and Toyen\, to post&ndash\;World War II artists such as Alighiero B oetti and Roy Lichtenstein\, to contemporary artists of different generatio ns\, including Anna Barriball\, Jennifer Bornstein\, Morgan Fisher\, Simryn Gill\, Matt Mullican\, Ruben Ochoa\, Gabriel Orozco\, and Jack Whitten. Th e presentation will shed light on artists little known outside their countr ies of origin\, such as Geta Brǎtescu from Romania and Eva Kmentová\; from the Czech Republic. Acknowledging the convention of rubbing for anthr opological and scientific purposes\, the exhibition will also present impor tant historical precursors\, including a remarkable group of nineteenth-cen tury rubbings of brass funerary plaques. This eclectic yet singularly focus ed selection will demonstrate the multifaceted ways in which frottage trans cends the traditional boundaries of draftsmanship.

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Curated by Allegra Pesenti\, curator at large\, Menil Drawing Institute\, and former curator of the UCLA Grunwald Center for the Graphic Arts\, Apparitions: Frottages and Rubbings from 1860 to Now will include approximately one hundred works on paper by fifty artists. It will be on view at the Hammer Museum from February 8 to May 31\, 2015\, and at t he Menil Collection in Houston from September 11\, 2015\, to January 3\, 20 16.

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Apparitions: Frottages and Rubbings f rom 1860 to Now is co-organized by the Hammer Museum\, Los Angeles\, a nd The Menil Collection\, Houston.

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The exhibition is curated by Allegra Pesenti\, curator at large \, Menil Drawing Institute and former curator of the Grunwald Center for th e Graphic Arts\, with Leslie Cozzi\, curatorial associate.

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The Hammer Museum&rsquo\;s presentat ion is made possible by Alice and Nahum Lainer. \;

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Major support is provided by the LLWW Fo undation. Generous funding is also provided by Dana Delany\, Margo Leavin\, Alisa and Kevin Ratner\, Jennifer Simchowitz\, and Helen and Sam Zell.

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DTEND:20150531 DTSTAMP:20150202T011950 DTSTART:20150207 GEO:34.0593793;-118.4437966 LOCATION:Hammer Museum\,10899 Wilshire Boulevard \nLos Angeles\, CA 90024 SEQUENCE:0 SUMMARY:Apparitions: Frottages and Rubbings from 1860 to Now\, Jindřich Šty ́rský\, Alighiero Boetti\, Roy Lichtenstein\, Anna Barriball\, Jennifer Bo rnstein\, Morgan Fisher\, Simryn Gill\, Matt Mullican\, Ruben Ochoa\, Gabri el Orozco\, Jack Whitten\, Geta Bratescu\, Eva Kmentová UID:372216 END:VEVENT BEGIN:VEVENT DTEND:20150207T170000 DTSTAMP:20150202T011950 DTSTART:20150207T110000 GEO:34.0593793;-118.4437966 LOCATION:Hammer Museum\,10899 Wilshire Boulevard \nLos Angeles\, CA 90024 SEQUENCE:0 SUMMARY:Apparitions: Frottages and Rubbings from 1860 to Now\, Anna Barriba ll\, Alighiero Boetti\, Jennifer Bornstein\, Geta Bratescu\, Morgan Fisher\ , Simryn Gill\, Eva Kmentová\, Roy Lichtenstein\, Matt Mullican\, Ruben Och oa\, Gabriel Orozco\, Jindřich Štýrský\, Jack Whitten UID:372217 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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British designer Thomas Heatherwick has b een hailed as a genius for the uniquely inventive nature of his work. Train ed at London's Royal College of Art\, Heatherwick's practice encompasses pr ojects ranging in scale from very small to monumental\, from products to pu blic sculpture to architecture.

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Provocations: The Architecture and Design of Heatherwick Studio \;examines the astonishing range of \;the studio&rsquo\;s pract ice by focusing on the design concepts behind small \;products such as the handbag designed for Longchamp and his \;rotation-molded "Spun" cha irs\, as well as large public and private architectural projects in the U.K .\, U.S.\, \;Abu Dhabi\, South Africa\, Singapore\, and \;China. Th ese include \;the U.K. Pavilion&mdash\;known as the Seed Cathedral at t he 2010 \;World Expo\; a new distillery for Bombay Sapphire gin\; a&nbs p\;Learning Hub for Nanyang Technological University in Singapore\; and&nbs p\;a contemporary art museum created within a historic grain silo\, among m any other exciting projects. Heatherwick Studio is recognized for \;its inventive approach to design\, often combining novel engineering with new materials and innovative technology to create unusual\, often sculptural\, building forms.

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Organized by the Nash er Sculpture Center\, Dallas\, Provocations is curated by Brooke H odge\, deputy director of Cooper Hewitt\, Smithsonian Design Museum. The Ha mmer&rsquo\;s presentation is overseen by curator Aram Moshayedi.

\n DTEND:20150524 DTSTAMP:20150202T011950 DTSTART:20150220 GEO:34.0593793;-118.4437966 LOCATION:Hammer Museum\,10899 Wilshire Boulevard \nLos Angeles\, CA 90024 SEQUENCE:0 SUMMARY:Provocations: The Architecture and Design of Heatherwick Studio UID:372214 END:VEVENT BEGIN:VEVENT DTEND:20150220T200000 DTSTAMP:20150202T011950 DTSTART:20150220T110000 GEO:34.0593793;-118.4437966 LOCATION:Hammer Museum\,10899 Wilshire Boulevard \nLos Angeles\, CA 90024 SEQUENCE:0 SUMMARY:Provocations: The Architecture and Design of Heatherwick Studio UID:372215 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Dutch artist Lily van der Stokker h as been making bold\, colorful large-scale wall paintings for more than twe nty years. The artist applies colors ranging from soft pastels to bright fl uorescents&mdash\;sometimes in playful and visually arresting plaid pattern s or all-over flower motifs&mdash\;to amorphous soft-edged forms that inhab it the space like friendly oversized visitors. Witty texts added alongside van der Stokker&rsquo\;s forms complicate their first impression as the car toony doodles of an adolescent or mere decorative ornamentation. Invoking t he platitudes of polite society with expressions like &ldquo\;Best regards& rdquo\; or &ldquo\;Wonderful&rdquo\; or touching upon the realities that im pact all our lives\, from love to money to aging\, with phrases like &ldquo \;Transfer the money to me&rdquo\; or &ldquo\;Only yelling older women in h ere\, nothing to sell\,&rdquo\; van der Stokker makes evident the power dyn amics at work within seemingly innocuous spaces. Van der Stokker argues for the role of pleasure in aesthetic experience\, finding alliances between b eauty and intellect\, playfulness and criticality.

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Hammer Projects: Lily van der Stokker is organized b y senior curator\, Anne Ellegood with MacKenzie Stevens\, curatorial assist ant.

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DTEND:20150517 DTSTAMP:20150202T011950 DTSTART:20150207 GEO:34.0593793;-118.4437966 LOCATION:Hammer Museum\,10899 Wilshire Boulevard \nLos Angeles\, CA 90024 SEQUENCE:0 SUMMARY:Hammer Projects: Lily van der Stokker\, Lily van der Stokker UID:372212 END:VEVENT BEGIN:VEVENT DTEND:20150207T170000 DTSTAMP:20150202T011950 DTSTART:20150207T110000 GEO:34.0593793;-118.4437966 LOCATION:Hammer Museum\,10899 Wilshire Boulevard \nLos Angeles\, CA 90024 SEQUENCE:0 SUMMARY:Hammer Projects: Lily van der Stokker\, Lily van der Stokker UID:372213 END:VEVENT END:VCALENDAR