BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20140816T200000 DTSTAMP:20140712T131903 DTSTART:20140816T180000 GEO:34.0340352;-118.3714502 LOCATION:Roberts & Tilton\,5801 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:& Closing Reception UID:346511 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Judy Fiskin\, prominently featured in the 2014 Hammer Biennial exhibitio n\, "Made in L.A.\," will be represented by her exquisite photographs. Dimi nutive\, graphic and pure\, her serialized works ("Desert\," "Dingbat\," "P ortraits of Furniture\," "Military Architecture" among them) are the essenc e of a long-lost art. Simmering under the radar for many years\, Fiskin's p rofound influence on the medium has been acknowledged by museums around the world. Her photographs and films are held in the collections of the Nation al Gallery of Art\, Washington\; Stedelijk Museum\; LACMA\; MoCA Los Angele s\; SF MoMA\; J Paul Getty Museum\; and Bibliothé\;que Nationale\, Pa ris\, among others. A catalogue raisonné\; was produced by Getty Publ ications in 2011.

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Ori Gersht will be represented by a single image from his 2005 series \;Liquidation. Although geometrically larger i n scale than works by Judy Fiskin\, Gersht's \;Liquidationseri es illuminates his ability to draw ethereal images from seemingly benign la ndscapes without using digital technology. His most potent tool is the powe r of observation\, letting the camera capture what the eye might not see in a casual glance. The depth of time and space presented in this work take t he viewer into a deep well of history. Gersht has captured the beauty of th e landscape while drawing out the brutality of historical events long since past and now invisible to the naked eye.

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Soo Kim continues her interest in the materiality of photography with her new seriesBacklight\, which evolved out of her previous body of work\, \;Invisible Cities . Each print starts with a crease made by folding a straight line info rmed by a line found in the photograph: the side of a building\, a power li ne\, a lamp post. The print is flattened\, and additional folds are made in this fashion until the entire print is marked with creased fold lines thro ughout. The geometric spaces made by the fold lines are then cut out of the print\, alternating cut spaces and spaces left intact. The neon colored ba ck of the photograph bounces back into the empty spaces cut in the photogra ph. Though the back of the photograph is unseen as a surface\, it can be se en through the reverberation of the color reflecting off the wall\, and fil ling in the voids of the negative spaces in the composition.

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Matt Lifson 's new work aims to harness the suggestiveness of painting. A representatio nal painting on canvas is veiled with a field of gestural marks and color o n transparent synthetic silk fabric. Each painting is essentially two paint ings in one: the silk painting provides limited access to the photo-based p ainting beneath. The effect is a disjointed harmony that breaks up the imag e into multiple pictorial fragments\, suggesting apparitions and reflection s of unknown origins\, placing the "real" into an ethereal pictorial plane while complicating storytelling through the production of alternate narrati ves of a single image. \; \;

DTEND:20140830 DTSTAMP:20140712T131903 DTSTART:20140712 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Summer Show\, Judy Fiskin\, Soo Kim\, Ori Gersht\, Matt Lifson UID:346504 END:VEVENT BEGIN:VEVENT DTEND:20140712T200000 DTSTAMP:20140712T131903 DTSTART:20140712T180000 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Summer Show\, Judy Fiskin\, Ori Gersht\, Soo Kim\, Matt Lifson UID:346505 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Murray Garrett

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Hollywood Redux

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RECEPTION: Saturday\, July 26\, 2014 from 5-8pm

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EXHIBITION: July 26\, - August 23\, 2014

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LOCATION : ROBERT BERMAN GALLERY

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Bergamot Station Arts Center

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2525 Michigan Ave. \; B7 Gallery

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San ta Monica\, CA 90404

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GALLERY HOURS: 11 &ndash\; \;6\ , Tuesday &ndash\; Saturday

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PRESS INQUIRIES: Email: info@robertbermang allery.com | P: 310.315.1937

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ROBERT BERMAN GALLERY is pleased to announce the solo exhibition\, Murr ay Garrett: Hollywood Redux. A selection of black and white photographs inc luding never before seen vintage silver gelatin prints from the artist&rsqu o\;s archive will be on view July 26 through August 23\, 2014. A reception for the artist will be held Saturday\, July 26\, from 5-8 pm. \;

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From the 1940s until he hung up his cameras in the 1960s New York native\, Murray Garrett\, was one of the mos t sought after event and celebrity photographers in the country. With his m edium format cameras\, like the Speed Graphic and Rollieflex\, he deftly ca ptured the lives of the entertainment industry&rsquo\;s elite and other pop ular figures of American culture and high society. Garrett was consistently welcomed into the innermost circles of Hollywood during its golden age\, a nd produced many iconic\, revealing and memorable black and white photograp hs of an industry where image is everything. As Bob Hope writes:

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&ldquo\;There are photographers\, and t hen there is Murray Garrett. He has a magic eye or a secret device in his c amera that captures something different\, something special that is missed by other photographers&hellip\;All of Hollywood recognized the genius of Ga rrett. He was always that one photographer who stood on the inside of the r opes at all the events.&rdquo\;

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Originally from Brooklyn\, Murray Garrett&rsquo\;s career as a distingui shed documentary photographer began while he was still in his teens when he landed a part time job at Graphic House in New York City as the assistant to the legendary theatrical photographer\, Eileen Darby. While under Darby& rsquo\;s tutelage\, Garrett received his first major assignment in the earl y 1940s when he was sent to cover first lady\, Eleanor Roosevelt\, and labo r leader Phillip Murray while they attended a musical in Newark\, New Jerse y. Shortly thereafter\, Garrett relocated to Los Angeles to oversee the est ablishment of the photo agency&rsquo\;s West Coast office. Within a year of his move Garrett was promoted to the position of bureau chief at Graphic H ouse and was completing assignments for almost every major publication in t he country including TIME\, LOOK and LIFE. For the next 25 years his career flourished into one of the most notable in the genre of celebrity portrait ure and reportage. Not only did Garrett cover all of the major Hollywood pr emiers and galas during the height of film industry glamour\, he was grante d exclusive access to intimate private events and welcomed into the everyda y lives of Hollywood&rsquo\;s highly celebrated stars. Garrett held an este emed position as Bob Hope&rsquo\;s personal photographer for over two decad es. He was the only photographer invited to accompany Richard Burton\, Eliz abeth Taylor and their children as they flew by private helicopter to Disne yland\, and to cover Frank Sinatra&rsquo\;s surprise 21st birthd ay party for Natalie Wood. His frequent friendships with the who&rsquo\;s w ho of Tinseltown allowed Garrett to capture rare and fleeting moments with unmatched elegance and ease. He produced a vast body of work that is at onc e tender\, majestic\, humorous\, and insightful. It is a stunning testament to the sophistication and style of one of the most important periods in ci nematic history and a fascinating American timecapsule\, rendered beautiful ly in black and white.

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Murray Garrett has served on the board of directors of the National Academy of Re cording Arts and Sciences. His work was the subject of a major retrospectiv e at the Academy of Motion Picture Arts and Sciences in 1989. Two monograph s of his photographs with accompanying commentary have been published: Holl ywood Candid (2000) currently in its third printing\, and Hollywood Moments (2002). \;

DTEND:20140823 DTSTAMP:20140712T131903 DTSTART:20140726 GEO:34.0276049;-118.4678444 LOCATION:ROBERT BERMAN GALLERY B7\,2525 Michigan Ave. Suite B7 at Bergamot Station Arts Center\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Murray Garrett : Hollywood Redux\, Murray Garrett UID:346425 END:VEVENT BEGIN:VEVENT DTEND:20140726T200000 DTSTAMP:20140712T131903 DTSTART:20140726T170000 GEO:34.0276049;-118.4678444 LOCATION:ROBERT BERMAN GALLERY B7\,2525 Michigan Ave. Suite B7 at Bergamot Station Arts Center\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Murray Garrett : Hollywood Redux\, Murray Garrett UID:346426 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sunday August 10\, 2014\, 7:30 pm

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< strong>Los Angeles Filmforum presents

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Lordvil le\, a film by Rea Tajiri

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At the Spielberg Theatre at the Egyptian\, 6712 Hollywood Blvd.\, Los Angeles CA 90028

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Rea Tajiri in person!

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C onsidering ghosts\, the act of walking and demarcations of ownership\, LORD VILLE asks &ldquo\;What does it mean to own the land?&ldquo\; Environmental scientist Tom Wessels reads timelines through physical landscape. Native A merican genealogist Sheila Spencer Stover gives an account of her relative\ , Betia Van Dunk\, a Minisink woman who married a founder of Lordville but was unable to inherit their property. LORDVILLE examines a once-prosperous town defined by its remote geography and problematic exchanges between Nati ve American and settler communities. The film approaches a historiography b ased on the reading of environment and its interconnectedness to culture.\n

For more event information: www.lafilmforum.org\, or 323-377-7238

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Screening:

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Lordvil le (2014\, HD\, 67 minutes)

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 \;Director&rsquo\;s Statement - Rea Tajiri:\n

&ldquo\;As a Japanese-American woman whose parents were incarcerated during WWII\, owning property has been both a dream and an ambivalence. My family&rsquo\;s house was &lsquo\;stolen&rsquo\; during World War II when their block was condemned by the government under eminent domain. They neve r saw the house\, or its contents\, again. My film HISTORY &\; MEMORY ex plored this story and the ramifications of internment for my family. LORDVI LLE introduces historical ghosts that wander the underwater world of the De laware River in upstate New York\, and characters from the past and present . Rivers move. People disappear. In the process we are reminded how complic ated ownership is\, how slender the threads of known history can be and how ephemeral is the land.

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 \;

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&ldquo\;Coming to terms wit h &lsquo\;stolen land&rsquo\; is part of the theme in my film. I attempted many times to stake out my property in Lordville in an attempt to understan d ownership as a physical sensation and a mental construct. To address this elusive concept. I evoke a heightened sense of a significant landscape bot h visible and invisible. I see the land as an entity that has stood witness over the years to many events both violent and peaceful. The chronology of the area reveals many land swindles\, including the defrauding of the Lena pe Indians in the infamous Walking Purchase Treaty. Over time\, many land b oundaries and land maps were blurred\, determining and following the tribal lines as tribes joined into and blended with one another.

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&ldquo\;In the end what I have concluded is the essential impossibi lity of owning the land. My intention is that the viewer connect to environ ment through a film experience\, and in so doing\, sense history extending into the past\, beyond conventional recording.&rdquo\; \;

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  \;

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Trailer:  \;https://vimeo.com/87701437

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 \;

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For more\, visit lordville.tumblr.com

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&nb sp\;

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&ldquo\;....Positions Tajiri at the forefront of curren t conversations about hybrid documentary form... A landscape film\, an expe rimental documentary\, an ethnography of place\, a personal meditation.... ...About history as a ghost &ndash\; a spectral presence that surrounds and lingers and defines a place.

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 \;

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&ldquo\;An inquiry in to questions of law\, land and citizenship and how these\, in the context o f American history\, are complicated by notions of nation and race.....as v isually and narratively pleasurable as it is intellectually stimulating.&rd quo\; -- Chi-hui Yang\, Independent Film Curator\, Flaherty Seminar

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 \;

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&ldquo\;...An unsettling portrait of settling in America.& rdquo\; -- Cathy Crane\, Ithaca College

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&ldquo\;... An experiential tour-de-force\, a camera roaming through the forest\, water bubbling loudly on a soundtrack. Memories\, geological studies\, landscape s\, and objects of the past are overlap in a way that probes our curiosity and emphasizes the strangeness that is our relationship to the places in wh ich we live. And it started with a house.&rdquo\; -- Brian Hu\, Artistic Di rector\, Pacific Arts Movement

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Rea Tajiri is a filmmaker and visual artist who earned her BFA and MFA degree from the California Institute of the Arts in Post-Studio Art. \; \; Tajiri's work examines the psycho-spiritual repercussions of political his tories in families. The characters in her films unravel their submerged pas t through memory\, ritual and their relationship to land to provoke audienc es to question the conventions of historiography.

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Tajiri&rsq uo\;s earlier works have been included in several Whitney Biennials. Her gr oundbreaking and award-winning 1991 personal essay film History and Mem ory\, premiered at the Biennial and won several awards including the D istinguished Achievement Award from the International Documentary Associati on\, and a Special Jury Award\; New Genres from the San Francisco Internati onal Film Festival. \; Tajiri and civil-rights organizer Pat Saunders c o-produced a film on the life of Harlem based human-rights activist Yuri Ko chiyama entitled Passion for Justice. Strawberry Fields\, Tajiri&rsquo\;s debut dramatic feature film\, received funding from ITVS a nd had its European premier at the 54th La Biennale de Venezia (The Venice Film Festival). It won the Grand Prix at the Fukuoka Asian International Fi lm Festival the following year and had its theatrical release through Phaed ra Cinema and Vanguard Releasing.

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Th is program is supported by the Los Angeles County Board of Supervisors thro ugh the Los Angeles County Arts Commission\; the Department of Cultural Aff airs\, City of Los Angeles\; and the Mike Kelley Foundation for the Arts. A dditional support generously provided by American Cinematheque. We also dep end on our members\, ticket buyers\, and individual donors.

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Los Ang eles Filmforum is the city's longest-running organization screening experim ental and avant-garde film and video art\, documentaries\, and experimental animation. \; 2014 is our 39th year.

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Memberships av ailable\, $70 single\, $115 dual\, or $50 single student

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Contact us at lafilmforum@yahoo.com.

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Find us online at http://lafilmforum.org .

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Become a fan on Facebook and follow us on Twitter @LosAngFilmforu m! \;

DTEND:20140810T214500 DTSTAMP:20140712T131903 DTSTART:20140810T193000 GEO:34.101418;-118.336595 LOCATION:Spielberg Theatre at the Egyptian\,6712 Hollywood Blvd. \nLos Ange les\, CA 90028 SEQUENCE:0 SUMMARY:Lordville\, Rea Tajiri UID:346424 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sunday August 3\, 2014\, 7:30 pm

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Los Angeles Filmforum presents

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Centro H istó\;rico\, a film by Aki Kaurismä\;ki\, P edro Costa\, Victor Erice and Manoel de Oliveira

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A t the Spielberg Theatre at the Egyptian\, 6712 Hollywood Blvd.\, Los Angele s CA 90028

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Introduced by Thom Andersen. \; Los Angeles premiere!

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For more event information: www.lafilmforum.org\, or 323-3 77-7238

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Tickets: $10 general\, $6 students/seniors\; free for Filmf orum members. \; Available by credit card in advance from Brown Paper T ickets at http://bpt.me/774402 or at the door.

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Screening:

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CENTRO HISTORICO

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A film by Aki Kaurismä\;ki\, Pedro Costa\, Vict or Erice\, and Manoel de Oliveira
( 2012\, 97 minutes\, digital)

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With contributions from four master filmmakers &ndash\; Aki Kaurismä\;ki\, Pedro Costa\, Victor Eric e and Manoel de Oliveira &ndash\;Centro Historico is a remarkable omnibus f ilm using the historic city of Guimarгes in Northern Portugal\, the Europea n Cultural Capital of 2012\, as inspiration. \;

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Aki Kaurism&aum l\;ki\, the Finnish filmmaker behind the drolly melancholic The Match Facto ry Girl\, directs the silent film Tavern Man\, which portrays a day-in-the- life of a man who works at a bar in a historic district of the city. Inside \, time seems to have stopped\; outside\, the city is a rush of the new and the modern. \;

Pedro Costa\, whose film Ne Change Rien ma de many of our Top Ten lists two years ago\, delivers a surrealist film cal led Sweet Exorcist\, which probes the revolutionary events of 1974. Exorcis t's protagonist is the memorable Ventura\, a character who appeared in Cost a's masterpiece Colossal Youth. As a participant in a coup d'etat by young commissioned officers\, Ventura loses his way the woods\, and is admitted i nto a mental hospital where he has conversations with "ghosts" of the past in the hospital's elevator. \;

In Victor Erice's Broken Wi ndows\, former workers visit the site of a vacant factory\, Rio Vizela\, th at closed after more than a century of production (it was one time an impor tant part of the European textile industry) and share memories\, including one focused on a photograph of the factory&rsquo\;s dining hall that stops everyone in their tracks. \;

Manoel de Oliveira's Conquere d Conqueror\, finally\, is a humorous short shot at the town of Guimarгes&r squo\; fortress\, with a group of tourists marching toward an imposing bron ze statue of Afonso the 1st.

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Four related films: &ldquo\;Sweet Exor cism\,&rdquo\; written and directed by Pedro Costa\; director of photograph y\, Mr. Costa and Leonardo Simõ\;es\; &ldquo\;O Conquistador Conquist ado\,&rdquo\; written and directed by Manoel de Oliveira\; edited by Val&ea cute\;rie Loiseleux\; &ldquo\;Vidros Partidos\,&rdquo\; written and directe d by Victor Erice\; director of photography\, Valentí\;n Á\;lva rez\; &ldquo\;Tavern Man\,&rdquo\; written\, directed and edited by Aki Kau rismaki\; director of photography\, Timo Salminen. Music by Pedro Santos\; produced by Rodrigo Areias. In English and Portuguese\, with English subtit les. Distributed by Cinema Guild.

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This program is supported b y the Los Angeles County Board of Supervisors through the Los Angeles Count y Arts Commission\; the Department of Cultural Affairs\, City of Los Angele s\; and the Mike Kelley Foundation for the Arts. Additional support generou sly provided by American Cinematheque. We also depend on our members\, tick et buyers\, and individual donors.

\n

Los Angeles Filmforum is the cit y's longest-running organization screening experimental and avant-garde fil m and video art\, documentaries\, and experimental animation. \; 2014 i s our 39th year.

\n

Coming Soon to Los Angeles Filmforum:\n

July 27 &ndash\;Free\, Twee\, Mean\, and Evergreen: EFFPortland&rsqu o\;s Pacific Northwest Showcase\, with curator Hannah Piper Burns

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A ug 3 &ndash\; Centro Histó\;rico\, a film by Aki Kaurism&aum l\;ki\, Pedro Costa\,Victor Erice and Manoel de Oliveira

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Aug 10 &nd ash\; Rea Tajiri - Lordville

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Memberships available\, $70 s ingle\, $115 dual\, or $50 single student

\n

Contact us at lafilmforum @yahoo.com.

\n

Find us online at http://lafilmforum.org.

\n

Becom e a fan on Facebook and follow us on Twitter @LosAngFilmforum! \;

DTEND:20140803T214500 DTSTAMP:20140712T131903 DTSTART:20140803T193000 GEO:34.101418;-118.336595 LOCATION:Spielberg Theatre at the Egyptian\,6712 Hollywood Blvd. \nLos Ange les\, CA 90028 SEQUENCE:0 SUMMARY:Centro Histórico\, Aki Kaurismäki\, Pedro Costa\, Victor Erice\, Ma noel de Oliveira UID:346423 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sunday July 27\, 2014\, 7:30 pm

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Los Angeles Filmforum presents

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Free\, Twee\, Mean\, and Evergreen: EFFPortland&rsquo\;s Pacific Northwest Showcase

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At the Spielberg Theatre at the Egyptian\, 6712 Hollyw ood Blvd.\, Los Angeles CA 90028

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Curator Hannah Pi per Burns in person! \; Loads of Los Angeles premieres!

\n< p>People often ask what characterizes the experimental work coming out of t he Pacific Northwest. In the three years that I&rsquo\;ve been programming this work\, I haven&rsquo\;t found a cocktail party or elevator blurb that covers the range I&rsquo\;ve seen\, but with the help of the amazing artist s that surround me\, I have made some observations. \;

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We are a ppropriators\, investigators\, and performers. Our politics start with the personal. We make within our means. We collaborate. We are students and pro fessors who show together. We inspire each other. Both in our sincerity and in our absurdity\, we are unabashed. We may be short on running times\, bu t we are long on style.

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It&rsquo\;s my hope that most\, if not all\ , of the artists and films in this program will be unfamiliar to this audie nce. Enjoy this sampling of feral fare from the wilds of Oregon and Washing ton! &ndash\; Hannah Piper Burns

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For more event information: www.lafilmforum.org\, or 323-377-7238

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Note: Hannah Piper Burns will be presenting a show of her own work at the Echo Park Film Center on Friday July 25that 8pm. \; Please see http://www.echoparkfilmcenter.org/cinema/schedule.html for more information.
 \;

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Screening:< /span>

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With You by Jonathan Marrs and Josh Ferdaszewski (Portland\, 16:38\, 2009) Los Angeles premi ere!
A non-linear\, experimental meditation that explores angst towar d oneself\, society\, and language.

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1984 by Kiel Fletcher (Portland\, 4:01\, 2012) Los Angeles prem iere!
A visual retelling of George Orwell's classic novel using the l anguage of online video.
*MAY BE INAPPROPRIATE FOR CHILDREN UNDR THE AGE OF 18 (LANGUAGE\, BRIEF DEPICTIONS OF SECUALITY)

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Dr eams of War\, Dreams of Lies\, Dreams of Dragon&rsquo\;s Fire by Chris Freeman
(Portland\, 4:31\, 2012) Los Angel es premiere!
A metal mash-up music video investigating rock star hero es\, a mythology of power\, unrealized dreams\, and how lame normal life is . \;

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Charade by Salise Hughes (Seattle\, 8:30\, 2013) Los Angeles premiere!
Based on\, an d using manipulated footage from the 1963 film of the same name\, with Cary Grant and Audrey Hepburn. The film is about a man who is constantly changi ng his identity.

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Charlie Foxtrot by Qathi Hart (Portland\, 3:35\, 2013) Los Angeles premiere!
An animated film that puts viewers into first person point of view of wome n's experiences in war\, with an intimate glimpse into the thoughts of a wa rrior.
*MAY BE INAPPROPRIATE FOR CHILDREN UNDER THE AGE OF 18 (VERBA L DESCRIPTIONS OF SEXUAL VIOLENCE)

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Monsters and Ghosts< /em> by Eileen Skyers (Portland\, 1:49\, 2013) Lo s Angeles premiere!
Attempts to recreate sense of self in relation to screen-based mediation. Its over-stimulating imagery mirrors the pervasive immediacy of media outlets and their tendency to distract us from a richly descriptive\, symbolic life.

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Les Chaussons Rouge< /strong> by Kurtis Hough (Portland\, 2:50\, 2013) Los Ange les premiere!
A fairytale dreamscape of music and dance fueled by the enchanted red shoes.

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Lullaby Trilogy by Joe Noreen (Portland\, 10:40\, 2014) Los Angeles premiere!
An emotionally precarious man attempts to sing his nephew a lullaby.

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10\,950 (1-930) by Kiri Hargie (Portland\, 1:56\, 2012) Los Angeles premiere!
10\,950 follows the paradigm that to have success in any field you must practice a specific \; task for around 10\,000 hours. For the next year I will be drawing 30 - 3&rdquo\; x 2&rdquo\; pictures a day\, clubbing the basics of motion into something that is hopefully both beautiful and inspirational . 10\,950 (1-930) is the first part of a journey as destination\,

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< strong>Break Up by Julia Oldham (Eugene\ , 5:18\, 2013) Los Angeles premiere!
Two physicists use language from their shared experimental work to both present their research and to descr ibe their feelings for each other.

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Never Let Me Go (rep rise) by Carl Diehl (Portland\, 2:43\, 2012) Los Angeles premiere!
Somber western tech scapes gone awry\, radio r uins\, phantom emperors or dessicated mechanical mannerisms shot thru with jangling almost broken bellowings from a distance. Mirages of frontier fabl es.

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Worst Existence by Dylan Jone s (Portland\, 2:22\, 2013) Los Angeles premiere!
Animated sh ort about a man and child hanging out with a miraculous pregnant horse.

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Out of This World by Melissa Tvetan< /strong> (Portland\, 2:08\, 2014) Los Angeles premiere!
Sex &\; st ring theory\, promiscuity &\; parallel dimensions.

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E ntrance by Stephen Slappe (Portland\, 2:30\, 2013)
"Black magic is not a myth. It is a totally unscientific and e motional form of magic\, but it does get results &mdash\; of an extremely t emporary nature." -Aleister Crowley

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*MAY BE INAPPROPRIATE FOR CHILD REN UNDR THE AGE OF 18 (BRIEF NUDITY/DEPICTIONS OF SEXUALITY)

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It was God's Hand that led me by Sam Pirnak (Portland\, 3:50\, 2014) Los Angeles premiere!

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A short poeti c piece that utilizes sound and images collected during trips into the deep south\, including inside the homes of residents of renowned quilt-making c ommunity Gee's Bend. Music and spoken word from personal archive of Pauline Jackson Griggs\, whose first song was published in her father's book\, The Colored Sacred Harp Songbook\, in 1931.

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Hannah Pi per Burns co-founded and co-directs Experimental Film Festival Por tland (EFFPortland) and acts as the curatorial consultant for the Light + S ound Window Gallery. She is a Portland-based appropriation artist\, collagi st\, and poet. She will be screening in Chicago and Milwaukee this summer a nd fall and in September she'll be collaborating with fellow artist Chris F reeman in a boxing match (she is the favorite). \;

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http://www.hannahpiperburns.c om/

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More on EFF Portland: http://effportland.com/

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----- -----------------

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This program is supported by the Los Angeles Coun ty Board of Supervisors through the Los Angeles County Arts Commission\; th e Department of Cultural Affairs\, City of Los Angeles\; and the Mike Kelle y Foundation for the Arts. Additional support generously provided by Americ an Cinematheque. We also depend on our members\, ticket buyers\, and indivi dual donors.

\n

Los Angeles Filmforum is the city's longest-running or ganization screening experimental and avant-garde film and video art\, docu mentaries\, and experimental animation. \; 2014 is our 39th year.

\n

Coming Soon to Los Angeles Filmforum:

\n

July 27 &ndash\ ; Recent films from Portland OR\, with curator Hannah Piper Burns

\n

A ug 3 &ndash\; \; Centro Historico

\n

Aug 10 &ndash\; Rea Tajiri - Lordville

\n

Memberships available\, $70 single\, $115 dual\, or $50 single student

\n

Contact us at lafilmforum@yahoo.com.

\n

Find us online at http://lafilmforum.org.

\n

Become a fan on Facebook and follow us on Twitter @LosAngFilmforum!

\n

 \;

DTEND:20140727T214500 DTSTAMP:20140712T131903 DTSTART:20140727T193000 GEO:34.101418;-118.336595 LOCATION:Spielberg Theatre at the Egyptian\,6712 Hollywood Blvd. \nLos Ange les\, CA 90028 SEQUENCE:0 SUMMARY:Free\, Twee\, Mean\, and Evergreen: EFFPortland’s Pacific Northwest Showcase\, Jonathan Marrs and Josh Ferdaszewski\, Kiel Fletcher\, Chris Fr eeman\, Salise Hughes\, Qathi Hart\, Eileen Skyers\, Kurtis Hough\, Joe Nor een\, Kiri Hargie\, Julia Oldham\, Carl Diehl\, Dylan Jones\, Melissa Tveta n\, Stephen Slappe UID:346422 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sunday July 20\, 2014\, 7:30 pm

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Los Angeles Filmforum presents

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Bruce Checefs ky: Remaking the Unseen

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At the Spielberg Theatre a t the Egyptian\, 6712 Hollywood Blvd.\, Los Angeles CA 90028

\n

Bruce Checefsky in person!

\n

Filmforum is delight ed to welcome Cleveland-based artist Bruce Checefsky for a screening of all of his films to date in his ongoing project of remaking unseen films.

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Bruce Checefsky is a photographer and Director of the Reinberger Galler ies at the Cleveland Institute of Art. For the past 13 years he has also mo onlighted as a maker of short\, independent films that have shown widely ar ound the world&mdash\;from MoMA and the Anthology Film Archives to the Tate Modern and the Rotterdam Film Festival. Checefsky has carved out a unique niche for himself by reimagining and making abstract and avant-garde Easter n European shorts from the 1920s to the 1940s that were either lost\, destr oyed\, or conceived/scripted but never filmed. Checefsky&rsquo\;s completio n of a new movie\, Witch&rsquo\;s Cradle (2014)\, affords us an opportunity to show all eight of his visually dazzling short films i n one comprehensive program. Witch&rsquo\;s Cradle reimagines an u nfinished\, now lost 1943 short by pioneering experimental filmmaker Maya D eren (Meshes of the Afternoon). Deren shot her film with Marcel Du champ in Peggy Guggenheim&rsquo\;s Art of This Century Gallery in New York\ ; it was intended to be an exploration of the magical qualities of objects in the space. Checefsky&rsquo\;s Cleveland-made remake stars CIA alum Marga ret Stamm. Also showing: Pharmacy (2001)\, A Woman and Circles (2003)\, IN NI (Others) (2005)\, Moment Musical (20 06)\, Bé\;la (2010)\, and more.

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For more event infor mation: www.lafilmforum .org\, or 323-377-7238

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Tickets: $10 general\, $6 students/senio rs\; free for Filmforum members. \; Available by credit card in advance from Brown Paper Tickets at http://www.brownpapertickets.com/event/761 437 \;

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or at the door.

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Screening:

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PHARMACY (2001/35mm/b&\;w abstract photogram film/silent/4:36 min.)

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PHARMACY is based on Stefan and Francizsk Themersons influential 1930 abstract \;photogram film APTEKA. The Themerson&rsquo\;s are considered the most influential \;filmmakers of the Polish avant-garde of pre-WWI I Europe. \;A stunning black and white abstract film\, Pharmacy is a ch aotic\, anarchic \;assemblage of chemistry lab measuring cups and spoon s\, various size test tubes\, \;tweezers\, eyeglasses\, and a cornucopi a of transparent pharmaceutical equipment seen as \;shadows only. \ ;Filmed in Budapest using a 1930s single frame camera\, black and white fil m\, and \;a reconstruction of the Themerson&rsquo\;s trick table based on an original drawing made by \;Stefan Themerson in the 1970&rsquo\;s.

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A WOMAN AND CIRCLES (2004/35mm/b&\;w and color/sound/9:38 min.)

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In 1930 while living in Paris\, Polish a vant-garde poet Jan Brzekowski wrote a short non-narrative film script titl ed "A Woman and Circles" in the French magazine "Cercle et \;Carree" (T he script was later translated into Polish and published in "Linia.").  \;This non-narrative film reveals a random succession of negative and posit ive \;images preceded by a glowing circle that overtakes the film frame then reduces to two \;smaller bouncing balls that later become minuet dancers. While using found footage \;from 1960's instructional films li ke "What is Rain?" AWAC is not considered a remake \;or reconstruction - Brzekowski never produced his film. \;A WOMAN AND CIRCLES was filmed using a 1940's hand wound 35mm \;camera with black and white film stock from the period in which the script was originally \;published.

\n< p>IN NI (Others) (2005/Beta/color/b&\;w/Polish with English subtitles/20:43 min.)

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In 1958\, experimental filmmake r Andrzej Pawlowski wrote a script based on a 1941 \;diary written by a patient at a psychiatric hospital in Kobierzyn near Krakow. The \;orig inal diary was found stashed in a wall\, and in the early 1950&rsquo\;s\, t he director of the \;asylum gave it to Pawlowski. The diary chronicles the daily atrocities committed by the \;Nazi under the operation &ldquo \;Ausmerzung Lebensunwerten Leben&rdquo\; during the occupation of \;Po land. \;The diary survived the war but its author did not. Pawlowski su bmitted his script to the \;national film board in Warsaw but they fail ed to produce it before he died in 1986. \;Filmed entirely in Warsaw.\n

COLORED RHYTHM (2005/Digital color animati on/Silent/3:00 min.)
In the early 1910&rsquo\;s\, painter\, designer\ , and illustrator Leopold Survage sought to transcend \;the &ldquo\;imm obility&rdquo\; of abstract painting by animating colorful forms through fi lm. Survage\, \;born Leopold Sturzwage\, was a student at Moscow&rsquo\ ;s School of Fine Arts when he \;discovered French modernism\, inspirin g his move to Paris in 1908. Survage joined the \;city&rsquo\;s coterie of avant-garde artists\, exhibited his work at the Salon des Independants\ , and \;attained the support of Guillaume Apollinaire. Contemporary dev elopments in abstract \;painting propelled his experiments with rhythm- color &ldquo\;symphonies\,&rdquo\; resulting in a series \;of hand-draw n colored abstractions (produced between 1912 and 1913)\, which he \;in tended to transform into pulsating rhythmic forms using a team of animators and a \;three-color camera. Survage considered his Rhythm colore serie s an autonomous art \;form analogous to music. \;Survage considered his film analogous to music. Purely abstract colorful forms \;would ki netically interact creating in the viewers mind melodic and harmonic rhythm . \;His pioneering efforts to create the first abstract film were curta iled by the outbreak of \;World War I\, and his color &ldquo\;plates&rd quo\; were never filmed. Survage continued to paint and \;produce desig ns and illustrations until his death.

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MOMENT MUSICAL (2006/16mm\, screened from digital/b&\;w/photogram film/soun d/5:43 min.)

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Stefan and Franciszka Themerson&rsquo\;s first sound f ilm\, "Moment Musical' (1933)\, was a \;three-minute commercial in whic h photograms of light-pierced jewelry\, porcelain and \;glass were anim ated to music by Ravel.The Themersons' experimental techniques involved mov ing lights and shadows \;on objects. They evolved out of the Themersons ' improvisations with the photogram. \;1928-35. Most of the images were made on a "trick-table" improvised by Stefan \;Themerson. He placed va rious objects on a piece of translucent paper over a sheet of \;glass. The lights were above\, and he photographed the images from below frame by& nbsp\;frame. \;In 1934\, T.Toeplitz from Kurier Polski wrote: " And fin ally I shall mention the \;Themersons\, who shot a truly beautiful comm ercial &ndash\; Moment Musical. This film moment is the only film that one cannot raise any objections to at all. The only positive point in \;the balance of Polish film production in 1933-34." \;"Moment Musical" was lost or destroyed during the Nazi occupation of Warsaw \;during the Sec ond World War.

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TUAREG (2008/16mm\, screen ed from digital/b&\;w/sound/7:15 min.) Los Angeles Premiere!

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A s tunning black and white abstract film\, TUAREG is a melodious assemblage of  \;Alencon\, Venetian\, and Point D'espirit lace\; artificial silk flow ers\, plants and trees seen \;as shadows cast by pocket\, tube\, and LE D flashlights. Beautifully photographed in \;black-and-white on outdate d twenty-five year old direct positive film\, the resulting dense \;gra in images evoke a veil of secrecy and tension surrounding the film&rsquo\;s meaning. The \;visible division of the screen in half\, several simult aneous images\, ruptures the illusion \;that the screen's frame is a se amless view of reality. \;TUAREG was commissioned by Hallwalls Center f or Contemporary Art in \;Buffalo\, New York.

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B&Eacu te\;LA (2010/35mm\, screened from digital/b&\;w/sound/5:43 min.) Los Angeles Premiere!

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An experimental film written by Hungar ian Dada artist and avant-garde filmmaker \;Gyö\;rgy Gerö\;\, a nd first published in 1924 in the DaDaist review IS. The original scene-by- scene film script and complete scenario of the film consist of three pages currently \;housed in the Hungarian National Library. The film was neve r made. \;Lajos Kassá\;k's review of the Dokumentum (1924) includ es a descriptive passage \;of Gero&rsquo\;s conceptual theory as well a s several key filmmaking techniques. \;Gyö\;rgy Gerö\;\, born i n 1905\, was a poet\, editor\, and the first Hungarian independent \;fi lmmaker.

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WITCH'S CRADLE (2014/digital/b&a mp\;w/sound/10:22 min.) \; Los Angeles Premiere!

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In 1943\, expe rimental filmmaker Maya Deren (1917-1961) collaborated with Marcel \;Du champ on the film 'Witch's Cradle'. 'Witches Cradle' was filmed in Peggy&nb sp\;Guggenhiem's 'Art of This Century Gallery' at 30 W. 57th Street in New York City. A \;choreographed set of movements between the figure (playe d by Duchamp) and the \;camera\, the film was intended to be an explora tion of the magical qualities of objects in \;Peggy Guggenheim&rsquo\;s Art of this Century Gallery\, a space where Duchamp also \;exhibited. &lsquo\;Witch&rsquo\;s Cradle' remains unfinished and is considered lost.&n bsp\;

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Filmmaker&rsquo\;s Statement:

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History is inert until someone tells it. Overcom ing that inertia is critical when recreating a historical document. Activat ing the archive surrounding the original is an attempt to activate the lost or destroyed. Using trace material or remnants of \;the past in recrea ting a work of art is a form of mapping one space onto another. A new parad igm results. Before a single frame of film is exposed in remaking these fil ms\, issues arise: remake the film as one might imagine or reconstruct the original? My short films require extensive\, almost obsessive research to u ncover the facts and materials surrounding the original film. More importan tly\, I carefully unravel a filmmaker&rsquo\;s life story. I am particularl y interested in the social\, political\, economic\, and personal conditions under which the lost film was made. Several of my films were made in the c ountry of their origin and whenever possible I hire local talent to influen ce the cultural and contextual grain which plays a decisive role in the fil ms ability to move beyond a stick-figure view of history. In making these f ilms\, nothing I produce is purely authentic. A claim of authenticity sugge sts an awareness of historical roots\, finding meaning in tradition. But th e limits on available artifacts in a remake\, especially a lost film\, can undermine the past\, resulting in a radical shift in meaning. Whether an au thentic reproduction or not\, my films assert their own ideology. They are intended as an independent project where research and production\, in the s ense that the films are eventually made from an artist&rsquo\;s point of vi ew\, exist in contrast to the original version. They are curatorial in thei r process.

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On the other hand\, the remake acquires new meaning by t heir intertextuality: each film is the product not simply of the original f ilmmaker\, but of a relationship to other films and to the structures of fi lm itself. I take allegorical strategies to a new level. While employing &l squo\;ready-made&rsquo\; ideas and aesthetics\, repeating in a way the work s of others\, I allow the films to retain their original meaning\, their en tire historical and \; aesthetic context. I reserve the &lsquo\;opportu nity&rsquo\; to create meaning through the second allegorical layer of the work. The fact that these artists&rsquo\; films no longer exist or were nev er produced provides considerable room for creativity\, with an immeasurabl e degree of responsibility.

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More on Checefsky at his site: http://seesawpictures.com/< /p>\n

Interview with Checefsky:

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http://www.cleveland.com/movies/i ndex.ssf/2014/03/renowned_cleveland_filmmaker_b.html

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This program is supported by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission\; the Departm ent of Cultural Affairs\, City of Los Angeles\; and the Mike Kelley Foundat ion for the Arts. Additional support generously provided by American Cinema theque. We also depend on our members\, ticket buyers\, and individual dono rs.

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Los Angeles Filmforum is the city's longest-running organizatio n screening experimental and avant-garde film and video art\, documentaries \, and experimental animation. \; 2014 is our 39th year.

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Memberships available\, $70 single\, $115 dual\, or $50 single student

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Contact us at lafilmforum@yahoo.com.

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Find us online at htt p://lafilmforum.org.

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Become a fan on Facebook and follow us on Twit ter @LosAngFilmforum! \;

DTEND:20140720T214500 DTSTAMP:20140712T131903 DTSTART:20140720T193000 GEO:34.101418;-118.336595 LOCATION:Spielberg Theatre at the Egyptian\,6712 Hollywood Blvd. \nLos Ange les\, CA 90028 SEQUENCE:0 SUMMARY:Bruce Checefsky: Remaking the Unseen\, Bruce Checefsky UID:346421 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140907 DTSTAMP:20140712T131903 DTSTART:20140809 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Solo Exhibition\, Vesod UID:346386 END:VEVENT BEGIN:VEVENT DTEND:20140809T210000 DTSTAMP:20140712T131903 DTSTART:20140809T180000 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Solo Exhibition\, Vesod UID:346387 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140907 DTSTAMP:20140712T131903 DTSTART:20140809 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Remix Every Second\, Morten Andersen UID:346384 END:VEVENT BEGIN:VEVENT DTEND:20140809T210000 DTSTAMP:20140712T131903 DTSTART:20140809T180000 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Remix Every Second\, Morten Andersen UID:346385 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Opening Reception: Friday\, July 18\, 6pm - 8pm

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Scot t Benzel\, Patricia Ferná\;ndez\, Hailey Loman\, D'Ette Nogle\, Mungo Thomson

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Curated by Eric Kim

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&ldquo\;&hellip\; [I]ndivi dual experience is clearly inseparable from the culture in which it is cons tituted. This truth is in fact at the root of the most beautiful mysteries of life. Thus\, in our intermediations\, we can share with one another an i mmensely rich history of experience and reflection. Yet as individuals\, at the same time\, we may run the risk of losing a sense of personal identity \, and growing blank in the process&mdash\;like the postcard photographer's gaze as he captures his empty images.&rdquo\;  \;

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-Allan McCollum

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History is frequently a commod ity for consumption with which contemporary mythologies are created. \; Collections and their subsequent modes of presentation indicate the interr elatedness of makers and consumers of culture. \; Memories of events an d systems of cataloging collide with economic and political forces\, genera ting a common narrative that replaces truth with mythology. \;

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In the group exhibition \;And yes\, I even remember you.\,&nbs p\;artists employ various strategies to discern the innumerable narratives intersecting at the point where cultural history is created. \; Each ac ts as an interlocutor intervening in the exchange of ideas and memories\, w ithin respective contexts of shared culture. \;

DTEND:20140830 DTSTAMP:20140712T131903 DTSTART:20140718 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:And yes\, I even remember you.\, Mungo Thomas\, D'Ette Nogle\, Hail ey Loman\, PATRICIA FERNANDEZ\, Scott Benzel UID:346327 END:VEVENT BEGIN:VEVENT DTEND:20140718T200000 DTSTAMP:20140712T131903 DTSTART:20140718T180000 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:And yes\, I even remember you.\, Scott Benzel\, PATRICIA FERNANDEZ\ , Hailey Loman\, D'Ette Nogle\, Mungo Thomas UID:346328 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Peter Fetterman Gallery is ple ased to present a selection of Brigitte Carnochan's exquisite hand painted prints.

DTEND:20140913 DTSTAMP:20140712T131903 DTSTART:20140712 GEO:34.0276049;-118.4678444 LOCATION:Peter Fetterman Gallery\,Bergamot Station #A-1 2525 Michigan Ave.\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Project Room Exhibition\, Brigitte Carnochan UID:346310 END:VEVENT BEGIN:VEVENT DTEND:20140712T200000 DTSTAMP:20140712T131903 DTSTART:20140712T180000 GEO:34.0276049;-118.4678444 LOCATION:Peter Fetterman Gallery\,Bergamot Station #A-1 2525 Michigan Ave.\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Project Room Exhibition\, Brigitte Carnochan UID:346311 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Otis College of Art and Design's Ben Maltz Gallery&nbs p\;
is pleased to present the exhibition
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Food - Water - Life / Lu cy + Jorge Orta
the U.S. premiere and only West Coast ven ue of this traveling exhibition \;
of work by Paris-based art and design duo Lucy + Jorge Orta
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 \;

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 \;< /div>\n
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The Ben Maltz Gallery at Otis College of Art and Design is proud to announce the upcoming exhibition\, \;Food - Wa ter - Life / Lucy + Jorge Orta\, on view from \;August 16 through December 6\, 2014. Ben Maltz Gallery is the only West Coast venue of this U.S. premiere of the Orta's work. The exhibition is organized by Tu fts University Art Gallery and curated by Judith Hoos Fox and Ginger Gregg Duggan (c2 | curatorsquared). Lucy and Jorge Orta are on campus October 20- 25\,2014 for a week-long residency working with Otis students and giving le ctures. The residency week culminates with a public conversation between th e artists and the curators\, followed by a reception\, on \;Saturday\, October 25\, 3-6pm. \;
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 \;
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The sculptu res\, drawings\, installations and video by this Paris-based wife and husba nd duo\, \;Lucy+Jorge Orta\, collectively explore major concer ns that define the 21st century: biodiversity\, environmental conditions\, climate change and exchange among peoples. As heirs to the practice of soci al sculpture\, formulated by Joseph Beuys in the 1960s\, the Ortas' works a re relics of their own function-beguiling assemblages that are the platform for the preparation of food\, mechanisms that actually purify water\, and elements created for a 2007 expedition to Antarctica that are part of an ef fort to amend the 1948 Universal Declaration of Human Rights. The works in this exhibition are metaphors-in-action\, constructions that perform the ta sks of which they are emblematic.
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These humorous\, jerrybuilt contraptions are obviously not the most efficient means to purify\, prepare and transport food and water\, or to launch a world-wide humanitarian effo rt\, but in their ability to actually function\, albeit\, awkwardly and hal tingly\, they gain power as works of art created to move us to awareness an d action. The artists have created a unique visual language through which t hey tackle the major global issues affecting our lives and the precarious p osition of this planet. As the Orta's artwork communicates widely to audien ces beyond the field of contemporary art\, it demonstrates the importance o f art as a creative agent for awareness and change. Their \;work embodies the philosophy that steers their pioneering art practice - "the ethics of aesthetics."

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Working in partne rship since 2005\, Lucy+Jorge Orta create\, produce\, and assemble their ar tworks and large installations together with a team of artists\, designers\ , architects\, and craftspeople. They stage on-location workshops\, ephemer al interventions\, residencies\, and master classes\, which explore the cru cial themes of the contemporary world: the community\, autonomy\, dwelling\ , migration\, sustainable development\, and recycling. Their work has been the focus of important survey exhibitions in major museums\, including: the Barbican Art Gallery\, London\; Modern Art Museum\, Paris\; Museum of Cont emporary Art\, Sydney\; Museum Boijmans Van Beuningen\, Rotterdam\; Hangar Bicocca\, Milan\; as well as the Venice\, Havana\, and Johannesburg Biennal es.  \;  \;  \; \;

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Tour itinerary: September 6 - Decem ber 16\, 2012\, Tufts University Art Gallery\, Medford\, MA\; January 22 - March 3\, 2012\, Zilkha Gallery\, Davison Art Center\, Wesleyan University\ , Middletown\, CT\; \;January 25 - May 25\, 2014\, Herbert F. Johnson M useum of Art\, Cornell University\, Ithaca\, NY\; \;August 16 - Decembe r 6\, 2014\, Ben Maltz Gallery\, Otis College of Art and Design\, Los Angel es\, CA\; February 5 - May 7\, 2015\, Richard E. Peeler Art Center\, DePauw University\, Greencastle\, IN \;
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Accompanying Pu blication:
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Lucy+Jorge Orta/Food-Water-Life \;was publis hed in 2011 by Princeton Architectural Press \;with contributions from Judith Hoos Fox and Ginger Gregg Duggan (c2 | curatorsquared)\, Hou Hanru\, Ellen Luptan\, and \;Zoe Ryan\, and is available for purchase for $40 at the Tufts University Art Gallery or directly from \;www.papress.com\; 192 pages\, 300 col or illustrations. \;
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Exhibition Pu blic Programs:

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Lectures b y Lucy + Jorge Orta \;
Tuesday\, October 21\, 11am-12:15pm\, Free | The Forum\, Goldsmith Ca mpus\, 9045 Lincoln Blvd\, L.A. 90045

Thursday\, \;October 23\, 10-11:30am\, Free | OTIS MFA St udios\, 10455 Jefferson Blvd\, Culver City 90232

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Artists &\; Curators Conversation and Reception \;< br />Saturday\, October 25\, 3-6pm\, Free< /span>
Curators Judith Hoos Fox and G inger Gregg Duggan in conversation with Lucy + Jorge Orta followed by a rec eption.
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DTEND:20141206 DTSTAMP:20140712T131903 DTSTART:20140816 GEO:33.956373;-118.417065 LOCATION:OTIS Ben Maltz Gallery\,Otis College of Art and Design Bronya and Andy Galef Center for Fine Arts\, 9045 Lincoln Blvd.\nLos Angeles\, CA 9004 5 SEQUENCE:0 SUMMARY:Food - Water - Life\, Lucy + Jorge Orta UID:346304 END:VEVENT BEGIN:VEVENT DTEND:20141025T180000 DTSTAMP:20140712T131903 DTSTART:20141025T150000 GEO:33.956373;-118.417065 LOCATION:OTIS Ben Maltz Gallery\,Otis College of Art and Design Bronya and Andy Galef Center for Fine Arts\, 9045 Lincoln Blvd.\nLos Angeles\, CA 9004 5 SEQUENCE:0 SUMMARY:Food - Water - Life\, Lucy + Jorge Orta UID:346305 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This \;Friday\, July 11\, 2014\, 8PM\, \;Native Strategies launches \;Issue #4: Dispersions - the act and sign of communication \;as part of their summer residency at LACE. \;C ontributors include: \;Patrisse Marie Cullors Brignac\, Robby H erbst\, Elana Mann\, Adam Overton\, John Burtle\, Guan Rong\, A.L. Steiner\ , taisha paggett\, Ashley Hunt\, Addie Tinnell\, Matias Viegener\, and Kate Durbin.

The la unch event will include performances by \;Robby Herbst\, Matias Viegener\, Addie Tinnell\, John Burtle\, Kate Durbin\, Mark Anthony Johnso n\, \;among others. Suggested donation at the door.

ABOUT NATIVE STRATEGIES
Native Strategies \;is a network of performance art makers\, producers and cri tical thinkers who seek to invigorate and make globally visible Los Angeles &rsquo\;s performance art community. Co-directed by Brian Getnick and Tanya Rubbak\, Native Strategies is a 5 year long study \;(2011 &ndash\; 201 6) of LA performance modalities through the creation of 10 differently them ed performance series and 10 uniquely designed journals\, resulting in a bo ok. \;This summer they welcome guest curator \;Jules Gimbrone  \;to collaborate on \;N (enter) S \;at LACE and Issue # 5: Music Issues- \;the privileging and negation of bodi es of sound \;with \;a series of weekly performances of sound and music production from \;July 17 through July 31. \;For a full schedule of events\, visit \;welcometolace.org.

DTEND:20140711T220000 DTSTAMP:20140712T131903 DTSTART:20140711T200000 GEO:34.10119;-118.331831 LOCATION:Los Angeles Contemporary Exhibitions (LACE)\,6522 Hollywood Blvd. \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:Native Strategies: A Night of Performances UID:346303 END:VEVENT BEGIN:VEVENT DESCRIPTION:

It is late and everyone else who lives in this place is asleep.\n

You s lither\, disgusting\, out of bed\, on to the floor\, up the wall\, into the window sill and up against the screen\, flesh pressed against the mesh. Yo u produce a small box and smoke its contents\, blowing the smoke through th e window\, away from this place.

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You return the box to its hiding place and with your back to the wall\, slip slowly towards the den.

\n< p style="text-align: justify\;">The den ha s sliding doors and you slide them\, carefully\, feeling the vibrations car ry up through the wood\, all the way down from the plastic wheels in their greasy trough. Mutant and incognito\, relatable.

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Louie Louie is an opera and the conditions for an opera\, dispersed into an art show\, organized by the Faustus Group and hosted by Human Resources in Los Angeles for two nights only\, \;July 10 and 11\, 2014.

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On the f irst night\, Thursday July 10\, the opera will begin at \;7PM \;and end at \;10PM. Two songs from the opera will be performed throughout t he evening by an ensemble of shoeless musicians in a corral.

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On the seco nd night\, Friday July 11\, the opera will begin at \;7PM \;and end at \;10PM. There will be musical performances by Dug Mintz and Bernard Herman at \;9PM.

DTEND:20140711T220000 DTSTAMP:20140712T131903 DTSTART:20140711T190000 GEO:34.0675686;-118.2356123 LOCATION:Human Resources\,410 Cottage Home St. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Louie Louie: Two Songs from an Opera UID:346302 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bernard Herman is the performance project of Barkev Gulesserian \;ba sed out of Brooklyn\, NY. Herman hosts a \;variety night in midtown Man hattan at Tagine and also \;has a monthly spotlight on "Nite People" WN YU 89.1fm. He \;moonlights as the proprietor of "Haunted\," a monthly t our of parks in New York City after midnight.

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Justin Smith is a ph otographer born in New Jersey and currently living in San Francisco. HIs ph otography is brought to life through an ongoing slideshow performance. Usin g an old kodak projector his unique vision of daily life is projected outwa rds\, \;accompanied by a soundtrack.

DTEND:20140712T220000 DTSTAMP:20140712T131903 DTSTART:20140712T210000 GEO:34.019521;-118.231777 LOCATION:Night Gallery\,2276 East 16th Street \nLos Angeles \, CA 90021 SEQUENCE:0 SUMMARY:Bernard Herman\, Justin Smith\, Barkev Gulesserian UID:346301 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Luis De Jesus Los Angeles \;is very pleased to pres ent \;HIGH LINE\, a group exhibition featurin g the works of \;MOLLY LARKEY\, LEONARDO BRAVO\, and \;ANNE McCADDON\, \;on view from July 12 through&nb sp\;August 23\, 2014. An artist's reception will be held on Saturday\, July 12th\, from \;6:00 to 8:00 p.m. \;

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High Line \;explores the line as in dependent\, idealized objects that\, far from being abstract symbols and pr imitive concepts\, are rooted in objective and subjective personal experien ce--its character and very existence determined by real and imagined forces often working in opposition to each other.

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In her new work\, \;Molly Larkey \;continues her interest in the idea of an al ternative "imaginary" language by exploring the very form of language--lett ers\, symbols\, words\, drawing\, writing--as the basis for her sculptural and painted works. For Larkey\, this imaginary language is related to being a queer person and imagining a queer utopia\, and it can be hinted at or b rought closer to ones field of vision and experience through art. \;The  \;idea \;of an imaginary language \;and an imagined q ueer utopia can be seen in relation to modernism and the utopian ideals aro und the various modernist movements which related art and aesthetics to a v ision of an alternative form of society. \; It imagines art as an alter native kind of language with the power to alter our ability to communicate\ , opening up different ways of apprehending and describing the world\, and changing how we behave with one another and function in the world. Larkey's "queer" language of forms\, however\, proposes \;a system of signs tha t does not conform to the mandates of cultural logics\, and\, \;particu larly\, not the didactic\, categorical\, exclusionary\, rigid\, male-centri c model of modernism \;and its entailing hierarchies. \;Her new wal l sculptures do that on an individual level--they literally change shape de pending on where one is standing in relation to them. Wrapped in linen\, pa inted\, and hung on the wall\, they are clearly meant to be read as paintin gs yet they refuse to be fixed or held down into one category of meaning or signification. They are dynamic and require the viewer to look at them wit h a dynamic\, open frame of mind.&n bsp\;

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Molly Larkey (b. 1971\, Los Angeles) lives and works in Los Angele s\, CA. She received a MFA from Rutgers University\, New Jersey\, and a BA from Columbia University\, New York. Her work has been featured in exhibiti ons at PS1 MoMA\, New York\; The Saatchi Gallery\, London\; LACMA\, Los Ang eles\; The Drawing Center\, New York\; Horton Gallery\, New York\; Ochi Gal lery\, Ketschum\; and Samson Projects\, Boston\, among others.

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L eonardo Bravo's \;works on paper draw on specific modernist an d minimalist geometric forms to depict complex structures and systems that suggest a fluid and constant state of unfolding. Influenced by his upbringi ng in the politically charged climate of his native Chile in the 1970s and a variety of other sources (including the Bauhaus weavings of Ani Albers an d Gunta Stolzl\, the wall drawings of Sol Lewitt\, the works of Helio Oitic ica\, and traditional Indian miniatures)\, Bravo sees these visual structur es as reflective of the trajectory or arc in which social movements are for med\, operate\, disperse\, and ultimately collapse. The works are akin to a visual mapping of specific cultural or historical cornerstone moments that pushed for struggle and resistance\, such as liberation movements in Afric a and Latin America\, student uprisings in the late twentieth century\, and the artists' own personal mythology of boundary traversing moments--as is the case of Larry Levan (the legendary DJ of NYC's Paradise Garage) holding a crowd in absolute heightened states of rapture and exuberance. Through t he inherent tension between lines\, colors\, and space these works suggest pathways to the utopian idealism of many liberal\, progressive\, and forwar d thinking movements. \;

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Born in Santiago\, Chile\, Leonardo Bravo earned his BFA f rom OTIS and his MFA from the University of Southern California. He lives a nd works in Los Angeles.

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Anne McCaddon's \;recent w ork references decorative and optical patterns from textiles\, wallpaper\, 1960s prints\, quilt design and faux finish decoration. Simple printing\, s ponging\, collaging\, and blurring techniques are favored with very little direct brush to canvas application. When the brush is applied it explores a calligraphic and cartoon styled line. These lines parade around enclosing the open white space of the canvas in dips\, waves\, and roundabouts\, some times even acting as containers for ornamentation. The comic character of h er line\, the "sticker" effect of her collaging\, and her application of pa tterns playfully distorts space\, obliterate underlying imagery\, create ca mouflage\, and form curiosities. The imagery in these paintings folds\, hid es\, flips\, inverts and pulses\, unwinding the static boundaries of two-di mensional representation presenting a comic relationship abstraction. \;

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Anne McCaddon was born in 1981 in Long Island\, New York\, and lives in Los Angeles. She received her MFA in Painting from UCLA (2009) and BFA from The Art Institute of Chicago (20 02). McCaddon's work has been the subject of one-person exhibitions with AC P at Parker Jones\, Los Angeles\, and at the ARSG Special Exhibitions space at LACMA. Her work has been included in group exhibitions at The Renaissan ce Society\, Chicago\, IL\; Human Resources\, Los Angeles\; Statler Waldorf \, Los Angeles\; Steve Turner Contemporary\, Los Angeles\, and George Lawso n Gallery\, Los Angeles.

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DTEND:20140823 DTSTAMP:20140712T131903 DTSTART:20140712 GEO:34.0336485;-118.376251 LOCATION:Luis De Jesus Los Angeles\,2685 S. La Cienega Blvd. \nLos Angeles\ , CA 90034 SEQUENCE:0 SUMMARY:High Line\, Molly Larkey\, Leonardo Bravo\, Anne McCaddon UID:346299 END:VEVENT BEGIN:VEVENT DTEND:20140712T200000 DTSTAMP:20140712T131903 DTSTART:20140712T180000 GEO:34.0336485;-118.376251 LOCATION:Luis De Jesus Los Angeles\,2685 S. La Cienega Blvd. \nLos Angeles\ , CA 90034 SEQUENCE:0 SUMMARY:High Line\, Leonardo Bravo\, Molly Larkey\, Anne McCaddon UID:346300 END:VEVENT END:VCALENDAR