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The gallery is pleased to announce representation of the est ate of Gilbert &ldquo\;Magu&rdquo\; Lujá\;n. \; One of the member s of the legendary Chicano arts collective\, Los Four\, Lujá \;n and his compatriots Carlos Almaraz\, Frank Romero\, and Robert De La Ro cha\, drew attention to Chicano art in the 70s with murals and public art p rojects. \; Lujá\;n invented a plethora of mythical/fanciful crea tures and cultural oddities\; dogs shaped like pyramids\, brilliantly color ed low-rider cars inflated like balloons\, strutting stick figures and anth ropomorphic rabbits in sunglasses. \; They populated an imaginary place called &ldquo\;Magulandia&rdquo\; but were drawn from the essence of Chica no culture. \; In 2017\, Lujá\;n will be the subject of a major r etrospective at UCI\, curated by Hal Glicksman. This exhibition is part of LA/LA\, the Getty&rsquo\;s Pacific Standard Time initiative focusi ng on the relationship of Los Angeles to Latin American cultures.

DTEND:20160702 DTSTAMP:20160525T154014 DTSTART:20160528 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Works on Paper\, Gilbert "Magu" Lujan UID:419372 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In an adjoining gallery\, we will present linoleum-cut print s made by Javier Carrillo\, Roberto Ortiz and Jairo Perez from the print de partment of Art Division\, a non-profit art school for young adults in the Rampart District of LA\, founded and directed by Dan McCleary. \; Image s made by Carrillo in particular\, share McCleary&rsquo\;s simple purity of a singular form on a flat background. \; His little pick-up truck over loaded with stacks of wooden palettes has the flat\, bold power of Manet&rs quo\;s Fifer.

DTEND:20160702 DTSTAMP:20160525T154014 DTSTART:20160528 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Work from Art Division Print Collective\, Javier Carrillo\, Roberto Ortiz\, Jairo Perez UID:419368 END:VEVENT BEGIN:VEVENT DTEND:20160528T190000 DTSTAMP:20160525T154014 DTSTART:20160528T170000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Work from Art Division Print Collective\, Javier Carrillo\, Roberto Ortiz\, Jairo Perez UID:419369 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On May 28\, the gallery will present its fifth exhibition of Dan McCleary\, who is regarded by Christopher Knight at the LA TIMES as &l dquo\;one of the finest figure painters working today.&rdquo\; \; McCle ary employs classical methodologies and devices like the golden mean\, as w ell as traditional building blocks of design: cube\, sphere\, cylinder and cone. \; His everyday moments of LA life and simple still-lifes contain the gravity\, structure and balance of Piero della Francesca. The new work s are small paintings of quietly centered fruit\, classic frontal portraits \, and etchings of florals made recently in Oaxaca.

DTEND:20160702 DTSTAMP:20160525T154014 DTSTART:20160528 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Small Works\, Dan McCleary UID:419362 END:VEVENT BEGIN:VEVENT DTEND:20160528T190000 DTSTAMP:20160525T154014 DTSTART:20160528T170000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Small Works\, Dan McCleary UID:419363 END:VEVENT BEGIN:VEVENT DESCRIPTION:

John Humble began photographing the &ldquo\;paradoxes and ir onies of Los Angeles&rdquo\; in 1979. \; He is a keen observer of this city of boundless asphalt\, stucco\, signage and mismatched patchworks of g raffiti paint-overs. In 1981\, Humble was one of eight photographers awarde d an NEA grant to chronicle the city on its bicentennial. \; Then in 20 07\, The Getty Museum mounted a mid-career retrospective entitled\, A P lace in the Sun: Photographs by John Humble\, accompanied by a monogra ph. \; Avoiding any stylistic affectations or cultural cliché\;s associated with LA\, Humble seeks to record empirical evidence\, creating i mages that are &ldquo\;reminiscent of geological cross-sections or archeolo gical excavations with layers of disparate natural and man-made elements co mpressed &ndash\; a sampling of visual strata.&rdquo\; \; His current e xhibition focuses on the contrasting architecture and the squeezing\, wedgi ng and overlapping of cultures in downtown Los Angeles (DTLA).

DTEND:20160702 DTSTAMP:20160525T154014 DTSTART:20160528 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:DTLA\, John Humble UID:419358 END:VEVENT BEGIN:VEVENT DTEND:20160528T190000 DTSTAMP:20160525T154014 DTSTART:20160528T170000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:DTLA\, John Humble UID:419359 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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On view in the gallery's office spa ce is \;Destroy'ed and Rebuilt\, \;a special presentation of works by UR New York: Fernando Romero and Mike Baca\, a graffiti duo fro m New York City. Known for their urban-industrial aesthetic\, the pair has been collaborating since 2006\, combining graffiti\, photography\, screen-p rinting and graphic design in their impactful mixed-media works.
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With a philan thropic mission to connect to youth culture and to share the powerful poten tial of self-expression\, the duo embraces experimentation and the diversit y of context and environment. Born and bred in New York City\, URNYC began making art on the streets and in the city's subway system. Now\, their work has been showcased internationally\, in museums\, galleries\, and cultural platforms across the world.
DTEND:20160618 DTSTAMP:20160525T154014 DTSTART:20160528 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Destroy'ed and Rebuilt\, UR New York UID:419237 END:VEVENT BEGIN:VEVENT DTEND:20160528T210000 DTSTAMP:20160525T154014 DTSTART:20160528T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Destroy'ed and Rebuilt\, UR New York UID:419238 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Concurrently on view in the Thinkspace pro ject room is \;Breaking Point\, featuring new works by America n\, Berlin-based\, artist James Bullough. A technically accomplished painte r who creates with a staggering degree of detail\, Bullough begins with fig urative imagery\, disjointing and levitating its fragmented parts impressio nistically to build dynamic surfaces that read with startling affective res onance.

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In this new series of works \, Bullough captures moments of existential fracture\, disruption\, and per sonal breach through the expressive movement of the body\, asking his model s to channel personal memory and to recall experiences of "breaking" at the moment of their capture. Working with dancers from Berlin\, Bullough begin s with the body in motion\, arrested in an expense of negative space\, then dissembles it further\, splicing\, striating\, and fragmenting its surface s and planes. The models remain anonymous and faceless throughout\, an omis sion intended to reaffirm the symbolic universality of the emotive physical gesture.

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His technique and style h ave evolved significantly over the past three years. Earlier works involved graphic additions and interruptions\, with areas of the figure clearly rem oved. Now the works are increasingly dynamic as the bodies' interrupted seg ments have been shifted and activated\, rather than deleted. Areas of the f igure are superimposed\, vibrating with transitional movement rather than a pprehended in static still. Each piece is created primarily with a minute # 1 brush\, a preference the artist has cultivated for its control and detail . Working on canvas\, reclaimed wood flooring from a Berlin dance studio\, and panel\, Bullough continues to experiment with his materials and ground.
DTEND:20160618 DTSTAMP:20160525T154014 DTSTART:20160528 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Breaking Point\, James Bullough UID:419235 END:VEVENT BEGIN:VEVENT DTEND:20160528T210000 DTSTAMP:20160525T154014 DTSTART:20160528T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Breaking Point\, James Bullough UID:419236 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Thinkspace&n bsp\; is pleased to present new works by Curiot in \;Warped Passage \, opening May 28. \;Michoacá\;n artist Favio Martinez\, kno wn by his pseudonym Curiot\, currently lives and works in Mexico City. Rais ed in Costa Mesa\, California\, the artist relocated to Mexico\, following his completion of high school\, hoping to reconnect with his estranged cult ural roots. He completed his BFA at the \;Universidad Michoacana \; in 2008 and since then has continued to hone his unique aesthetic in both h is ambitiously scaled site-specific public mural pieces and his gallery wor ks.
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Renowned for his experimentally surrea l and colorfully vibrant imagery\, Curiot creates visual worlds with an ant hropological suggestion. Simultaneously ancient and contemporary\, they're inspired by Mexican folklore\, handicraft traditions\, textiles\, and patte rns. His larger-than-life sensibility often borders on the abstract\, as he combines the human and the animal into awe-worthy aggregates. Ambiguously totemic and ancestral\, the works have been known to explore the primal coe xistence\, and contention\, of the human and natural worlds. An advocate fo r the preservation and respect of this tenuous balance\, Curiot has created a mythological shorthand with a wealth of characters and recurring symbols \, immediately recognizable as his own.
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In this new body o f work\, Curiot explores transition and metaphysical passage\, working inte ntionally within a loosely defined future tense. In this dizzying new quasi -futuristic realm\, the mythological creatures of his self-devised mytholog y have passed on\, transmogrified\, and are reincarnated as depictions of d eities and icons for worship. Exploring both loss and expulsion\, metamorph osis and inheritance\, Curiot offers a labyrinthine splitting of worlds and paths.
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The breaking of light will offer first site of the path within paths\, at times intertwined or straight\, split into two or three or four\, hidden exits and glowing welcomes. As some tunnels cave in behind you\, one may think\, what if? But does it really matter\, each r oad that one takes is that of the unknown\; unexplored experiences which bu ild upon a dream\, a dream we all share\, that slowly unravels within our t ime. The mirage will remain for others to probe\, vanity fades\, knowledge transfers\, we wake once again to another bright door.- CURIOT
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Act 1: Warped Passage \;wil l feature a collection of new paintings\, two new digital editions\, an adv enturous installation component\, including musical accompaniment from Fran z (Pira MD Records) as well as an offsite mural completed for the RFK Schoo ls project via Branded Arts.
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DTEND:20160618 DTSTAMP:20160525T154014 DTSTART:20160528 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Act 1: Warped Passage\, Curiot UID:419233 END:VEVENT BEGIN:VEVENT DTEND:20160528T210000 DTSTAMP:20160525T154014 DTSTART:20160528T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Act 1: Warped Passage\, Curiot UID:419234 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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David Kordansky Gallery is very pleased to announce \;< span style="text-decoration: underline\;">Green April\, an exhibitio n of major large-scale paintings by Sam Gilliam from the late 1960s and ear ly 1970s. The show will open on \; Jun e 4 \;and remain on view through \;July 9\, 2016. An opening reception will be h eld on \;Saturday\, June 4 \;from \;6:00pm until 8:00pm< /span>.

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Sam Gilliam is one of the key figures in postwar and contemporary American art . Emerging from the Washington\, D.C. scene in the mid 1960s with works tha t both elaborated upon and disrupted the ethos of Color School painting\, h e has subsequently pursued a wide-ranging\, pioneering course in which impr ovisation and experimentation have been the only constants.Green April \;focuses on works execut ed during a crucial period in the artist's development\, one in which he be gan to make the iconic Beveled-edge and Drape paintings for which he is bes t known. These works feature a number of striking formal advances\, but the ir radicality also hinges upon the fact that they were made in dialogue wit h the profound social shifts that were taking place at the time. Most of th e works on view have remained in Gilliam's studio since their creation and have never before been exhibited.

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The B eveled-edge paintings (or Slice paintings\, as they were also called) that Gilliam started to produce in 1967 were quickly recognized by critics as a breakthrough body of work. By pouring acrylic paints onto a length of canva s and then folding it over on itself while still wet\, or vice versa\, he c reated prismatic spatial effects and unexpected color combinations\, pushin g the brushless staining and soaking techniques also employed by artists li ke Thomas Downing\, Morris Louis\, and Kenneth Noland to a newly lyrical ex treme. He then stretched the canvas on a beveled frame\, so that the painti ng appeared to emerge from the wall on which it was hung. This sculptural e xtension established a physically immediate and active connection with the viewer\, who now approached not a flat picture plane but a dimensional and bodily one.

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Green April's title is borrowed from a monumental Beveled-edge painting from 1969. Over twenty feet wide a nd eight feet tall\, it represents Gilliam at his most ambitious and explor atory. Its panoramic landscape format and ethereal palette channels the imm ersive optical richness of Monet's \;Water Lilies. While dominant art historical narratives hail those hallmarks of Impressionism as gateways to a modernist realm of pure abstraction\, one in which painting exists as a standalone\, idealized mode of discourse\, Gilliam's work engages the body as well as the eye. \;< span style="text-decoration: underline\;">Green April \;is a dec idedly volumetric object\; the processes\, both intensely physical and mate rial\, responsible for its creation inform the way the painting is experien ced as a thing in space.

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With works lik e these Gilliam began eroding the distinction between the visual world trad itionally conjured within a painting and the tangible world outside it. For an African-American artist working in the nation's capital in the late 60s \, at the height of the Civil Rights Movement\, this was not merely an aest hetic proposition. It was a way of defining art's role as a primary mode fo r expression in a democratic society undergoing dramatic change\, and of af firming the power and relevance of non-objective painting in the widest arr ay of cultural as well as political contexts. Gilliam increasingly embodied the idea that free\, and free-ranging\, expression was itself a form of en gaged citizenship.

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This idea would take dramatic new form in the Drape paintings he began to produce next in 1968\, cementing his position as one of the most important formal innovators of his generation. By suspending a stretcherless\, often vast length of painted canvas from the walls or ceiling of an exhibition sp ace\, Gilliam transformed both his medium and the contexts in which it was viewed. Architectural in scale\, these installation-based objects both lite ralized the sublimity of abstract expressionism and returned painting to it s archaic roots as an intervention in\, or on\, a particular space\, be it a cave or a church or an exterior wall. In many ways this was a natural out growth of the experimental and embodied processes he was using to apply his pigments. It also reflected his treatment of the canvas not only as a surf ace or support\, but as a material with its own expansive potential for pla stic manipulation.

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However\, unli ke other contemporary artists' attempts to break with the rectilinear const raints of the stretcher\, the Drapes are also painterly works in the tradit ional sense of the word. As minimalism was beginning to exert its dominant influence as a formal language\, Gilliam's unabashedly bold use of color an d performative\, even baroque sensibility evince his ongoing interest in th e trajectory of Western painting as a discrete discipline with its own plea sures and mysteries. The works on view in this exhibition attest to the fac t that the Drapes\, and the Beveled-edge paintings\, must also be read as s tandalone compositions\, each of which has its own internal logic and mood. Herein lies the bracing paradox at the heart of Gilliam's project. Dismant ling one of painting's basic structural foundations not only energized the medium\, but also showed that the visceral experience of beauty is\, figura tively and literally\, an "all-over" phenomenon. Such experiences might ori ginate within an artwork\, but they are not limited to a space delimited by the edges of a canvas\; they exist in a social dimension\, always shared a mong communities of viewers\, and yet simultaneously unique to each viewer alone.

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< span style="font-size: small\;">Sam Gilliam (b. 1933\, Tupelo\, Mississippi) was the subject of a traveling retrospecti ve organized by the Corcoran Gallery of Art\, Washington\, D.C. in 2005\; o ver the last four decades his work has also been the subject of solo exhibi tions at the J.B. Speed Memorial Museum\, Louisville\, Kentucky\; the Whitn ey Museum of American Art\, Philip Morris Branch\, New York\; The Studio Mu seum in Harlem\, New York\; and the Museum of Modern Art\, New York\, among many other institutions. In 1972\, Gilliam exhibited his work in the group exhibition\, curated by Walter Hopps\, comprising the American Pavilion of the 36th Venice Biennale. Recent group exhibitions include \;Not New Now\, Marrakech Biennale 6\, Morocco (2016)\; \;Black: Color\, Material\, Concept< span style="color: #222222\;">\, The Studio Museum in Harlem\, New York (20 15)\; \;Surface Matters \, Edward H. Linde Gallery\, Museum of Fine Arts\, Boston (2015)\; \;Surface Tension\, The FLAG Ar t Foundation\, New York (2015)\; \;Affecting Presence and the Pursuit of Delicious Experiences\, T he Menil Collection\, Houston (2015)\; \;Represent: 200 Years of African American Art\, Philadelph ia Museum of Art (2015)\; \;Witness: Art and Civil Rights in the Sixties\, Brooklyn Museum\, New Y ork (2014)\; and \;A Bigger Splash: Painting after Performanc e\, Tate Modern\, London (2012). Gill iam's work is in the collections of many prominent institutions worldwide\, including the Museum of Modern Art\, New York\; Tate Modern\, London\; the Art Institute of Chicago\; Hirshhorn Museum and Sculpture Garden\, Washing ton\, D.C.\; Musé\;e d'Art Moderne de la Ville de Paris\; Los Angeles County Museum of Art\; Walker Art Center\, Minneapolis\; Solomon R. Guggen heim Museum\, New York\; and the Metropolitan Museum of Art\, New York. He lives and works in Washington\, D.C.

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David Kordansky Gallery is very pleased to announce \;Green April\, an exhibition of major large-scale paintings by Sam Gilliam from the late 1960s and early 1970s. The show will open onJune 4 \;and remain on view thr ough \;July 9\, 2016. A n opening reception will be held onSaturd ay\, June 4 \;from \;6:00pm until 8:00pm.

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\n< p style="margin-bottom: 17px\;">Sam Gilliam is one of the key figures in po stwar and contemporary American art. Emerging from the Washington\, D.C. sc ene in the mid 1960s with works that both elaborated upon and disrupted the ethos of Color School painting\, he has subsequently pursued a wide-rangin g\, pioneering course in which improvisation and experimentation have been the only constants.Green April \;focuses on works executed during a crucial period in the artist 's development\, one in which he began to make the iconic Beveled-edge and Drape paintings for which he is best known. These works feature a number of striking formal advances\, but their radicality also hinges upon the fact that they were made in dialogue with the profound social shifts that were t aking place at the time. Most of the works on view have remained in Gilliam 's studio since their creation and have never before been exhibited.

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The Beveled -edge paintings (or Slice paintings\, as they were also called) that Gillia m started to produce in 1967 were quickly recognized by critics as a breakt hrough body of work. By pouring acrylic paints onto a length of canvas and then folding it over on itself while still wet\, or vice versa\, he created prismatic spatial effects and unexpected color combinations\, pushing the brushless staining and soaking techniques also employed by artists like Tho mas Downing\, Morris Louis\, and Kenneth Noland to a newly lyrical extreme. He then stretched the canvas on a beveled frame\, so that the painting app eared to emerge from the wall on which it was hung. This sculptural extensi on established a physically immediate and active connection with the viewer \, who now approached not a flat picture plane but a dimensional and bodily one.

\n
\n

Green April's title is b orrowed from a monumental Beveled-edge painting from 1969. Over twenty feet wide and eight feet tall\, it represents Gilliam at his most ambitious and exploratory. Its panoramic landscape format and ethereal palette channels the immersive optical richness of Monet's \;Water Lilies. While dominant art historical narrativ es hail those hallmarks of Impressionism as gateways to a modernist realm o f pure abstraction\, one in which painting exists as a standalone\, idealiz ed mode of discourse\, Gilliam's work engages the body as well as the eye.& nbsp\;Green April \;i s a decidedly volumetric object\; the processes\, both intensely physical a nd material\, responsible for its creation inform the way the painting is e xperienced as a thing in space.

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With works like these Gilliam began eroding the distinction between the visual world traditionally conjured within a painti ng and the tangible world outside it. For an African-American artist workin g in the nation's capital in the late 60s\, at the height of the Civil Righ ts Movement\, this was not merely an aesthetic proposition. It was a way of defining art's role as a primary mode for expression in a democratic socie ty undergoing dramatic change\, and of affirming the power and relevance of non-objective painting in the widest array of cultural as well as politica l contexts. Gilliam increasingly embodied the idea that free\, and free-ran ging\, expression was itself a form of engaged citizenship.

\n
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This idea would take dramatic new form in the Drape paintings he began to produce next in 1968\ , cementing his position as one of the most important formal innovators of his generation. By suspending a stretcherless\, often vast length of painte d canvas from the walls or ceiling of an exhibition space\, Gilliam transfo rmed both his medium and the contexts in which it was viewed. Architectural in scale\, these installation-based objects both literalized the sublimity of abstract expressionism and returned painting to its archaic roots as an intervention in\, or on\, a particular space\, be it a cave or a church or an exterior wall. In many ways this was a natural outgrowth of the experim ental and embodied processes he was using to apply his pigments. It also re flected his treatment of the canvas not only as a surface or support\, but as a material with its own expansive potential for plastic manipulation.

\n
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However \, unlike other contemporary artists' attempts to break with the rectilinea r constraints of the stretcher\, the Drapes are also painterly works in the traditional sense of the word. As minimalism was beginning to exert its do minant influence as a formal language\, Gilliam's unabashedly bold use of c olor and performative\, even baroque sensibility evince his ongoing interes t in the trajectory of Western painting as a discrete discipline with its o wn pleasures and mysteries. The works on view in this exhibition attest to the fact that the Drapes\, and the Beveled-edge paintings\, must also be re ad as standalone compositions\, each of which has its own internal logic an d mood. Herein lies the bracing paradox at the heart of Gilliam's project. Dismantling one of painting's basic structural foundations not only energiz ed the medium\, but also showed that the visceral experience of beauty is\, figuratively and literally\, an "all-over" phenomenon. Such experiences mi ght originate within an artwork\, but they are not limited to a space delim ited by the edges of a canvas\; they exist in a social dimension\, always s hared among communities of viewers\, and yet simultaneously unique to each viewer alone.

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Sam Gilliam (b. 1933\, Tupelo\, Mississippi) was the subject of a traveling retrospective organized by the Corcoran Gallery of Art\, Washingt on\, D.C. in 2005\; over the last four decades his work has also been the s ubject of solo exhibitions at the J.B. Speed Memorial Museum\, Louisville\, Kentucky\; the Whitney Museum of American Art\, Philip Morris Branch\, New York\; The Studio Museum in Harlem\, New York\; and the Museum of Modern A rt\, New York\, among many other institutions. In 1972\, Gilliam exhibited his work in the group exhibition\, curated by Walter Hopps\, comprising the American Pavilion of the 36th Venice Biennale. Recent group exhibitions in clude \;Not New Now\, Marrakech Biennale 6\, Morocco (2016)\; \;Black: Color\, Material\, Concept\, The Studio Museum in Harlem\, New York (2015)\; \;Surface Matters\, Edward H. Linde Gallery\, Museum of Fine Arts \, Boston (2015)\; \;Surface Tension\, The FLAG Art Foundation\, New York (2015)\; \;Affecting Presence and the Pursuit of D elicious Experiences\, The Menil Collection\, Houston (2015)\; \ ;Represent: 200 Years of African American Art\, Philadelphia Museum of Art (2015)\; \;Witness: Art and Civil Rights in the Sixti es\, Brooklyn Museum\, New York (2014)\; and \;A Bigger Splash: Painting after Performance\, Tate Modern\, London (2012). Gilliam's work is in the collections of ma ny prominent institutions worldwide\, including the Museum of Modern Art\, New York\; Tate Modern\, London\; the Art Institute of Chicago\; Hirshhorn Museum and Sculpture Garden\, Washington\, D.C.\; Musé\;e d'Art Moder ne de la Ville de Paris\; Los Angeles County Museum of Art\; Walker Art Cen ter\, Minneapolis\; Solomon R. Guggenheim Museum\, New York\; and the Metro politan Museum of Art\, New York. He lives and works in Washington\, D.C.\n

DTEND:20160709 DTSTAMP:20160525T154014 DTSTART:20160604 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:Green April\, Sam Gilliam UID:419231 END:VEVENT BEGIN:VEVENT DTEND:20160604T200000 DTSTAMP:20160525T154014 DTSTART:20160604T180000 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:Green April\, Sam Gilliam UID:419232 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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David Kordansky Gallery is very pleased to announce \;A comb a hole\, an exhibition of new wor k by Valentin Carron. The show will open on \;June 4 \;and remain on view through \;July 9\, 2016. An opening recepti on will be held on \;Saturday\, June 4 \;from \;6:00pm u ntil 8:00pm.

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Valentin Carron's sculptures\, installations\, and paintings inhab it the world as recreated ready-mades. Drawing from iconography associated with his own native Switzerland\, he meticulously recreates characteristic local forms\, often substituting one material for another\, and generating unexpected compositional complexity from otherwise mute or overlooked objec ts. In so doing\, he infuses the ordinary and the mundane with humor\, mela ncholy\, and poetry. \;A com b a holefeatures a new body of pedestal-based bronze sculptures and a stealthily dramatic installation that alters the gallery's space.< /p>\n\n\n\n\n\n\n\ n\n\n\n\n\n\n\ n\n\n\n\n\n\n\n
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Working from photographs taken of seemingly ra ndom sections of pavement\, asphalt\, flooring\, and sewer grates in his ho metown of Sully in southwest Switzerland\, Carron has created flat\, slab-l ike objects designed to be viewed from above. Beginning with clay\, he form s each of the elements by hand before casting the composition in bronze and then painting it. The sculptures capture\, by way of relief\, the patterns in surfaces that often go unnoticed because they are underfoot. Many also feature sculptural representations of the kinds of things that end up on th e ground in a municipal environment\; these include stylized renditions of banana peels\, fallen French fries\, and hardware that might have dropped i nto the wet concrete before it set.

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Installed on pedestals arranged in the gallery according to a slightly irregular grid\, in their totality the sculptures exist as an austere field of monuments to the quotidian. These are depictions of daily life at its most drab and banal\, and yet they bristle with surreal juxtap ositions and a stoic comedy\, suggesting that even the ground we stand upon can be raised up for contemplation and reflection. Since the viewer is sti ll required to look down to see them\, however\, they also skewer the very notion of tabletop sculpture\, performing as both the flat tabletop and the object that rests upon it. At the same time\, this flatness also allows th em to be read as if they were horizontal paintings\, or hybrid works occupy ing an intermediate spatial dimension between the second and the third. Sub tle textures and color shifts play out from one sculpture to the next\, dra wing the eye toward minor distinctions that take on exponentially increasin g significance as the viewer navigates the installation.

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An emphasis on surface detail can be identified as a common theme throughout Carron's practice. Regardless of t he materials he uses in any given body of work\, he revels in their plainne ss and the aesthetic interest they offer in a relatively unadorned state. W hile his matter-of-fact attitude is indebted in part to minimalist art hist orical examples\, it also speaks to a certain punk-like aesthetic and his i nterest in homage as a form of both affection and critique. In \;A comb a hole \;this is als o exemplified in the way the sculptures have been painted. Carron uses indu strial paints (colors are selected from a pre-existing chart)\, and applies them\, in what is at once an off-handed gesture and a careful assessment o f the innate properties of both the bronze and the paint\, using an uninfle cted series of broad strokes\, sometimes allowing the finish of the bronze to show through. In several instances\, variously shaped holes in the bronz es reveal identically shaped openings in the tops of their pedestals\; toge ther the apertures function like momentary eruptions of the abyss\, breakin g any conceptual fourth wall that might exist between the ideal space of th e art object and the tangible space of the exhibition itself.

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These ruptures find an eerie pa rallel in two eye-shaped holes that seem to observe the sculptures\, as wel l as their viewers\, from high up in one of the gallery's walls. The "eyes" are the result of an elaborate and carefully constructed intervention. An entirely new wall has been built in front of the existing one\, and the hol es themselves are lined with concrete forms that subtly differentiate their perimeter from the plaster that surrounds them\; even the surface of the w all behind the holes has been painted black\, as if to further accentuate t he overriding power of negative space. Inspired by similar openings found i n the walls of European village architecture\, the installation both invite s and thwarts the desire to look beyond what is right in front of us. As in much of Carron's work\, this dynamic has broader cultural implications--in a world of widespread globalization\, local things are exposed to a univer sal gaze\, but they also get harder to see.

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In 2013\, Valentin Carron (b. 1977\, Martigny\, S witzerland) represented Switzerland at the 55th Venice Biennale. He has als o been the subject of solo exhibitions at numerous institutions worldwide\, including Overbeck Gesellschaft\, Lü\;beck\, Germany (2015)\; Kunsthal le Bern\, Switzerland (2014)\; Fondation Louis Moret\, Martigny\, Switzerla nd (2014)\; Palais de Tokyo\, Paris (2010)\; Centro de Arte Contempor&aacut e\;neo La Conserva\, Ceuti\, Spain (2009)\; Kunsthalle Zü\;rich\, Switz erland (2007)\; Swiss Institute\, New York (2006)\; and\, with Mai-Thu Perr et\, Chisenhale Gallery\, London (2006). Recent group exhibitions include&n bsp\;Wanderlust\, High Li ne\, New York (2016)\; \;Ele vation 1049: Between Heaven and Hell\, LUMA Foundation\, Gstaad\, Sw itzerland (2014)\; \;Alone T ogether\, Rubell Family Collection\, Miami (2013)\; \;Lost (in LA)\, presented by FLAX\, Los Angeles Municipal Art Gallery\, Barnsdall Park\, Los Angeles (2012)\;&n bsp\;Le jeunesse est un art\, Jubilä\;um Manor Kunstpreis\, Aargauer Kunsthaus\, Aarau\, Switzer land (2012)\; \;The World as Will and Wallpaper\, Le Consortium\, Dijon\, France (2012)\; and&nb sp\;The New Public\, MUSE ION of Modern and Contemporary Art\, Bolzano\, Italy (2012). Carron lives a nd works in Martigny\, Switzerland.

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David Kordansky Gallery is very pleased to announce \;A comb a hole\, an exhibition of new work by Valentin Carron. The show will open on \;June 4 \;and remain on view through  \;July 9\, 2016. An opening reception will be held on \;Saturday \, June 4 \;from \; 6:00pm until 8:00pm.

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Valentin Carron's sculptures\, installations\ , and paintings inhabit the world as recreated ready-mades. Drawing from ic onography associated with his own native Switzerland\, he meticulously recr eates characteristic local forms\, often substituting one material for anot her\, and generating unexpected compositional complexity from otherwise mut e or overlooked objects. In so doing\, he infuses the ordinary and the mund ane with humor\, melancholy\, and poetry. \;A comb a holefeatures a new body of pedestal-based b ronze sculptures and a stealthily dramatic installation that alters the gal lery's space.

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Working from photographs taken of seemingly random sections of pav ement\, asphalt\, flooring\, and sewer grates in his hometown of Sully in s outhwest Switzerland\, Carron has created flat\, slab-like objects designed to be viewed from above. Beginning with clay\, he forms each of the elemen ts by hand before casting the composition in bronze and then painting it. T he sculptures capture\, by way of relief\, the patterns in surfaces that of ten go unnoticed because they are underfoot. Many also feature sculptural r epresentations of the kinds of things that end up on the ground in a munici pal environment\; these include stylized renditions of banana peels\, falle n French fries\, and hardware that might have dropped into the wet concrete before it set.

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Installed on pedestals arranged in the gallery according to a sl ightly irregular grid\, in their totality the sculptures exist as an auster e field of monuments to the quotidian. These are depictions of daily life a t its most drab and banal\, and yet they bristle with surreal juxtaposition s and a stoic comedy\, suggesting that even the ground we stand upon can be raised up for contemplation and reflection. Since the viewer is still requ ired to look down to see them\, however\, they also skewer the very notion of tabletop sculpture\, performing as both the flat tabletop and the object that rests upon it. At the same time\, this flatness also allows them to b e read as if they were horizontal paintings\, or hybrid works occupying an intermediate spatial dimension between the second and the third. Subtle tex tures and color shifts play out from one sculpture to the next\, drawing th e eye toward minor distinctions that take on exponentially increasing signi ficance as the viewer navigates the installation.

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An emphasis on surface detail can be identified as a common theme throughout Carron's practice. Regardles s of the materials he uses in any given body of work\, he revels in their p lainness and the aesthetic interest they offer in a relatively unadorned st ate. While his matter-of-fact attitude is indebted in part to minimalist ar t historical examples\, it also speaks to a certain punk-like aesthetic and his interest in homage as a form of both affection and critique. In \; A comb a hole \;this is also exemplified in the way the sculptures have been painted. Carron use s industrial paints (colors are selected from a pre-existing chart)\, and a pplies them\, in what is at once an off-handed gesture and a careful assess ment of the innate properties of both the bronze and the paint\, using an u ninflected series of broad strokes\, sometimes allowing the finish of the b ronze to show through. In several instances\, variously shaped holes in the bronzes reveal identically shaped openings in the tops of their pedestals\ ; together the apertures function like momentary eruptions of the abyss\, b reaking any conceptual fourth wall that might exist between the ideal space of the art object and the tangible space of the exhibition itself.

\n\n
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These ruptur es find an eerie parallel in two eye-shaped holes that seem to observe the sculptures\, as well as their viewers\, from high up in one of the gallery' s walls. The "eyes" are the result of an elaborate and carefully constructe d intervention. An entirely new wall has been built in front of the existin g one\, and the holes themselves are lined with concrete forms that subtly differentiate their perimeter from the plaster that surrounds them\; even t he surface of the wall behind the holes has been painted black\, as if to f urther accentuate the overriding power of negative space. Inspired by simil ar openings found in the walls of European village architecture\, the insta llation both invites and thwarts the desire to look beyond what is right in front of us. As in much of Carron's work\, this dynamic has broader cultur al implications--in a world of widespread globalization\, local things are exposed to a universal gaze\, but they also get harder to see.

\n
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In 2013\, Valenti n Carron (b. 1977\, Martigny\, Switzerland) represented Switzerland at the 55th Venice Biennale. He has also been the subject of solo exhibitions at n umerous institutions worldwide\, including Overbeck Gesellschaft\, Lü\; beck\, Germany (2015)\; Kunsthalle Bern\, Switzerland (2014)\; Fondation Lo uis Moret\, Martigny\, Switzerland (2014)\; Palais de Tokyo\, Paris (2010)\ ; Centro de Arte Contemporá\;neo La Conserva\, Ceuti\, Spain (2009)\; Kunsthalle Zü\;rich\, Switzerland (2007)\; Swiss Institute\, New York (2006)\; and\, with Mai-Thu Perret\, Chisenhale Gallery\, London (2006). Re cent group exhibitions include \;Wanderlust\, High Line\, New York (2016)\; \;Elevation 1049: Between Heaven and Hell \, LUMA Foundation\, Gstaad\, Switzerland (2014)\; \;Alone Together\, Rubell Family Collection\, Miami (2013)\; \;Lost (in L A)\, presented by FLAX\, Los Angeles Municipal Art Gallery\, Barnsda ll Park\, Los Angeles (2012)\; \;Le jeunesse est un art\, Jubilä\;um Manor Kunstpreis\, Aarg auer Kunsthaus\, Aarau\, Switzerland (2012)\; \;The World as Will and Wallpaper\, Le Consortium\ , Dijon\, France (2012)\; and \;The New Public\, MUSEION of Modern and Contemporary Art\, Bolzan o\, Italy (2012). Carron lives and works in Martigny\, Switzerland.

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DTEND:20160709 DTSTAMP:20160525T154015 DTSTART:20160604 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:A comb a hole\, Valentin Carron UID:419229 END:VEVENT BEGIN:VEVENT DTEND:20160604T200000 DTSTAMP:20160525T154015 DTSTART:20160604T180000 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:A comb a hole\, Valentin Carron UID:419230 END:VEVENT BEGIN:VEVENT DESCRIPTION:

an opening in an otherwise sol id\, opaque surface\, through which light can pass.

an opening i n a wall\, door\, roof or vehicle that allows the passage of light and\, if not closed or sealed\, air and sound.

an opening in the wall or roof of a building or vehicle that is fitted with glass or other transpare nt material in a frame to admit light or air and allow people to see out.
an interval or opportunity for action.

an opening in a wall\, door\, etc.\, that usually contains a sheet of glass.

an opening especially in the wall of a building for admission of light and ai r that is usually closed by casements or sashes containing transparent mate rial (as glass) and capable of being opened and shut.

an opening (as a shutter\, slot\, or valve) that resembles or suggests a window.

any of various rectangular boxes appearing on a computer screen that display files or program output\, that can usually be moved and resized\, and that facilitate multitasking.

The window is a constant subje ct in the history of photography both literally and figuratively. Light can pass through a window and/or be reflected off of it. A window can separate two spaces in three dimensions or combine them in two dimensions (image). It can frame a view or obscure it entirely. A window is a photographic clic he. The window is a viewfinder to the world and a picture of a window is a picture of photography itself.

DTEND:20160702 DTSTAMP:20160525T154015 DTSTART:20160528 GEO:34.098385;-118.331264 LOCATION:Tif Sigfrids\,1507 Wilcox Avenue \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:Refenestration\, Uta Barth\, Heather Cleary\, John Divola\, Marten Elder\, Peter Holzhauer\, Owen Kydd\, Jeff Wall\, James Welling UID:419225 END:VEVENT BEGIN:VEVENT DTEND:20160528T180000 DTSTAMP:20160525T154015 DTSTART:20160528T160000 GEO:34.098385;-118.331264 LOCATION:Tif Sigfrids\,1507 Wilcox Avenue \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:Refenestration\, Uta Barth\, Heather Cleary\, John Divola\, Marten Elder\, Peter Holzhauer\, Owen Kydd\, Jeff Wall\, James Welling UID:419226 END:VEVENT BEGIN:VEVENT DESCRIPTION:
C.A.V.E. GALLERY PRESENTS OUR
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8 YEAR ANNIVERSARY EXHIBITION
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in conjunction with:
\nTHE ANNUAL VENICE ARTWALK\n
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PLUS: \;Venice Duck Brewery& nbsp\;Pop-Up Beer Tasting!
Beats by Resident DJ Bu$R1D3R
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Sunday May 22
\n11am - 6pm \;- at the gallery
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Please join us to celebrate!

Exhibit ion is on view thru \;June 19\, 2016
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DTEND:20160619 DTSTAMP:20160525T154015 DTSTART:20160522 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:8 Year Anniversary Celebration! UID:419220 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Samuel Freeman is pleased to present \;Frank J. Stockton&rsquo\;s&nb sp\;debut solo exhibition\, \;True Believers\, \;opening M ay 21st\, 2016. Pairing new\, large-scale paintings with recent smaller wor ks on paper and canvas\, the exhibition will represent the focus of Stockto n&rsquo\;s practice since graduating from UCLA&rsquo\;s Graduate Fine Arts Program in 2015.

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Stockton&rsquo\;s energetic paintings build upon disparate mythologies\, combining elements o f Western religion with literary symbolism and historical events into a sin gular narrative language. These amoral allegories are meditations upon the genesis of myth and memory. \; When the primary subject\, a male figure comically nude but for a superhero&rsquo\;s cape\, strides off with a nake d woman slung over his shoulder\, it is left unresolved whether the act is one of abduction or salvation. Unlike the singleminded crusaders of popular fiction\, Stockton&rsquo\;s shambling Ü\;bermensch is perpetually caug ht between morality and depravity. \;\n

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The cadmium red mark employe d in all of Stockton&rsquo\;s recent work evokes blood and passion\, \; predisposing \;an impression of quick and facile work. \; To the co ntrary\, when engaged in person it is visibly clear that each mark has been debated\, questioned\, and quickly painted over if found wanting. \; T he scarred and layered surfaces that result are an act of revelation\, not hiding. \; Their sophistication is balanced with vulgarity\, strength t ied to fragility\, morality tempered with corruption. De Kooning-esque surf aces slowly reveal tired\, huddled masses and amorous antagonists\, while b ouncing pink phalluses denounce and venerate their own symbolic meaning. Ex posing the unstretched canvas edges\, \;these paintings openly carry th e \;indexes of their \;making\, the \;rough \;cuts and impe rfections \;physically acknowledging \;the frailties of Stockton&rs quo\;s subjects. Collectively\, the works invite the viewer to look past th e fictionalized\, and indeed artificial\, contrast between good and evil&nb sp\;to contemplate the inherently subjective ambiguity of these primal forc es that link our histories\, our stories and our selves.

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Frank J. Stockton was born in Santa Ana\, California in 1980. He received his MFA from the University of California\, Los Angeles and his BFA from Art Center College of Design\, Pasadena\, CA. He was a rec ipient of the UCLA Graduate Fellowship as well as the Lorser Feitelson & \; Helen Lundberg Feitelson Arts Foundation Award. In 2015 Stockton partici pated in a residency at the Skowhegan School of Painting &\; Sculpture\, in Skowhegan\, ME. Notable exhibitions include \;INSIDE/OUTSIDE: W orks from theSkowhegan Archives\, curated by Michelle Grabner at Skowh egan (Waterville\, ME)\, \;TOP COAT\, Curated by Roger Herman at The Pit (Glendale\, CA) and \;The Status of Portraiture\, C urated by Grant Vetter at Autonomie Projects (Los Angeles\, CA). He current ly lives and works in Los Angeles\, CA.

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DTEND:20160625 DTSTAMP:20160525T154015 DTSTART:20160521 GEO:34.033969;-118.377335 LOCATION:Samuel Freeman\,2639 South La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:True Believers\, Frank J. Stockton UID:419218 END:VEVENT BEGIN:VEVENT DTEND:20160521T200000 DTSTAMP:20160525T154015 DTSTART:20160521T170000 GEO:34.033969;-118.377335 LOCATION:Samuel Freeman\,2639 South La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:True Believers\, Frank J. Stockton UID:419219 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160709 DTSTAMP:20160525T154015 DTSTART:20160526 GEO:34.0907255;-118.3378115 LOCATION:Redling Fine Art\,6757 Santa Monica Blvd. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Perfect Potatoes\, Kate Groobey UID:419203 END:VEVENT BEGIN:VEVENT DTEND:20160526T210000 DTSTAMP:20160525T154015 DTSTART:20160526T180000 GEO:34.0907255;-118.3378115 LOCATION:Redling Fine Art\,6757 Santa Monica Blvd. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Perfect Potatoes\, Kate Groobey UID:419204 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Night Gallery is proud \;t o present \;Aunt Nancy\, an exhibition of work by Alexandra No el\, Andy Robert\, Anna Rosen\, Chloe Seibert\, Nelson Sullivan\, and Sam L ipp. \;Aunt \;Nancy \;is titled after the aunt \;o f Nelson Sullivan\, whose prolific video practice documented his life and f riends in downtown New York in \;the 1980s\, as well as visits to his h ometown of Kershaw\, \;South Carolina\, where Nancy lived.

A unt Nancy \;appears \;in many of \;Sullivan's videos\, presente d as a simultaneously sympathetic\, strong\, and vulnerable figure. \;T he works included in the exhibition were \;created from personal \; memories\, found photographs\, \;knick knacks\, and the art of storytel ling. \;Nelson \;Sullivan's portrayal of Aunt Nancy embodies a numb er of interpersonal dynamics underlying the works in the show: \;parent to child\, adult self to childhood memory\, and self to home&mdash\;that i s\, the hometown you find yourself in versus the home that you make for you rself as an adult. \;

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Sam Lipp \;was born in 1989\, and lives and works in New York. Recent exhibitions include X Bienal de Nicaragua\, Managua\; Balice Hertling\, Paris\; Ellis King\, Dublin\; É\;ric Hussenot\, Paris\;&nb sp\;Central Fine\, Miami\; Neochrome\, Turin\; Bodega\, New York\; and Arca dia Missa\, London. Lipp is also the co-director of Queer Thoughts\, a gall ery in NYC.
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Anna Rosen \;was born in \;1984 in \;Arlington\, VA\, and \;received her BFA fro m RISD in 2006 and her MFA from Columbia University in 2010. Rosen has been included in exhibitions at Silberkuppe\, Berlin\; and at Murray Guy\, Amer ican Medium\, and Derek Eller Gallery\, New York. \;In 2016\, she will have a solo exhibition at Kerry Schuss\, New York\, and will also be includ ed in exhibitions at Lyles &\; King\, New York\, and at Night Gallery\, Los Angeles. \;She had a two-person exhibition with the artist John Mil ler at Malraux's Place\, Brooklyn\, in 2014\, and a solo exhibition at Nigh t Gallery in 2013. \;Rosen is based in New York.

Chl oe Seibert \;was born in New York in 1989\, and \;lives an d works in Chicago. \;Recent exhibitions include Balice Hertling\, Pari s\; Efrain Lopez\, Chicago\; American Medium\, Brooklyn\; \; COOPER COL E\, Toronto\; and Atlanta Contemporary. Upcoming exhibitions include Queer Thoughts\, New York\; and Courtney Blades\, Chicago. \;
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Nelson Sullivan \;was born in 1948 in Kershaw\, SC\, and \;lived in New York during the 1980 s\, where he documented the now-legendary Downtown scene in a prolific and seminal body of videos. His work has been featured in numerous film festiva ls in the United States and Europe\, and has also been shown in museum and gallery exhibitions\, most recently \;Greater New York \;at MoMA P. S.1 in 2015-16. Sullivan \;died in New York on July 4\, 1989. \;
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Alexandra Noel  \;was born in \;1989\, and \;lives and works in Los A ngeles. Recent exhibitions include Bodega\, New York\; Neochrome\, Turin\; Hester\, New York\; and Shanaynay\, Paris. Her first book \;By Rote&nbs p\;was published by Holoholo Books in 2015.
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Andy Robert \;was born in 1984 in Les Cayes\, Haiti\, and received his MFA from California Institute of t he Arts in 2011. He attended the Whitney Independent Study Program in 2014- 2015\, and in summer of 2016 will attend Skowhegan School of Painting and S culpture. Robert has exhibited at the Bienal de las Fronteras (Instituto Ta maulipeco para la Cultura y las Artes) in Tamaulipas\, Mexico\, Papillion A rt in Los Angeles\, Dimensions Variable in Miami\, and the Studio Museum in Harlem\, New York. \;Robert is a recipient of the Rema Hort Mann Found ation Grant\, and he is based in Los Angeles. \;
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DTEND:20160625 DTSTAMP:20160525T154015 DTSTART:20160528 GEO:34.019521;-118.231777 LOCATION:Night Gallery\,2276 East 16th Street \nLos Angeles \, CA 90021 SEQUENCE:0 SUMMARY:Aunt Nancy\, Sam Lipp\, Anna Rosen\, Chloe Seibert\, Nelson Sulliva n\, Alexandra Noel\, Andy Robert UID:419199 END:VEVENT BEGIN:VEVENT DTEND:20160528T220000 DTSTAMP:20160525T154015 DTSTART:20160528T190000 GEO:34.019521;-118.231777 LOCATION:Night Gallery\,2276 East 16th Street \nLos Angeles \, CA 90021 SEQUENCE:0 SUMMARY:Aunt Nancy\, Sam Lipp\, Alexandra Noel\, Andy Robert\, Anna Rosen\, Chloe Seibert\, Nelson Sullivan UID:419200 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160730 DTSTAMP:20160525T154015 DTSTART:20160611 GEO:34.0190877;-118.2317065 LOCATION:François Ghebaly Gallery\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Drawings and Reliefs\, Patrick Jackson UID:419197 END:VEVENT BEGIN:VEVENT DTEND:20160611T180000 DTSTAMP:20160525T154015 DTSTART:20160611T150000 GEO:34.0190877;-118.2317065 LOCATION:François Ghebaly Gallery\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Drawings and Reliefs\, Patrick Jackson UID:419198 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160730 DTSTAMP:20160525T154015 DTSTART:20160611 GEO:34.0190877;-118.2317065 LOCATION:François Ghebaly Gallery\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Solo Exhibition\, Neïl Beloufa UID:419195 END:VEVENT BEGIN:VEVENT DTEND:20160611T180000 DTSTAMP:20160525T154015 DTSTART:20160611T150000 GEO:34.0190877;-118.2317065 LOCATION:François Ghebaly Gallery\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Solo Exhibition\, Neïl Beloufa UID:419196 END:VEVENT END:VCALENDAR