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PUBLIC WORK is the first exhib ition to focus exclusively on L.A. based artist Peter Shire&rsquo\;s public and private architectural commissions. Executed over the course of three d ecades\, the architectural works demonstrate Shire&rsquo\;s understanding o f the formal principles of twentieth century art and architecture collided with his interrogations of popular culture and the vocabulary of visual des ign. Plying graphic forms and structural geometry with radically saturated colors\, Shire&rsquo\;s architectural constructions are high-voltage improv isations of artistic legacy and traditional architectural platforms. The re sulting works exuberantly transform space and environment. \;

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The exhibition charts Shire&rsquo\;s commissio ns from his first public entry in the 1984 Olympics (Los Angeles)\, to a 19 90 sculptural installation commissioned by Sapporo Corporation\, Hokkaido\, Japan\, to the most recent 2012 River Park\, Ventura County public art ins tallation. This creative journey will highlight architectural models and sc ulptural elements\, ideation sketches\, finished drawings and paintings\, a nd varied objects of inspiration that have functioned as source material an d propelled Shire&rsquo\;s imagistic installations.  \;

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Spanning a career of path-breaking interventions and showcasing Shire&rsquo\;s cross-disciplinary approach to materials and art categories\, the architectural commissions exalt the blending of &ldquo\;f ine&rdquo\; and &ldquo\;applied&rdquo\; art. They celebrate Shire&rsquo\;s knowledge and production of ceramics\, furniture\, sculpture\, drawing and painting\, as all are essential attributes that potently inform Shire&rsquo \;s architectural work and artistic vision.

DTEND:20150131 DTSTAMP:20140916T163334 DTSTART:20141108 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Public Work\, Lines of Desire\, Peter Shire UID:356820 END:VEVENT BEGIN:VEVENT DTEND:20141108T180000 DTSTAMP:20140916T163334 DTSTART:20141108T120000 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Public Work\, Lines of Desire\, Peter Shire UID:356821 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141108 DTSTAMP:20140916T163334 DTSTART:20141010 GEO:34.019521;-118.231777 LOCATION:Night Gallery\,2276 East 16th Street \nLos Angeles \, CA 90021 SEQUENCE:0 SUMMARY:Solo Exhibition\, JPW3 UID:356818 END:VEVENT BEGIN:VEVENT DTEND:20141010T220000 DTSTAMP:20140916T163334 DTSTART:20141010T190000 GEO:34.019521;-118.231777 LOCATION:Night Gallery\,2276 East 16th Street \nLos Angeles \, CA 90021 SEQUENCE:0 SUMMARY:Solo Exhibition\, JPW3 UID:356819 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sink or Swim: Designing for a Sea Change explores the human sto ry of resilience\, from adaptation for survival to ambitious infrastructure planning\, in some of the richest and poorest of the world&rsquo\;s coasta l communities. Rather than showing pristine architectural photography\, the photographs present viewers with various human responses to changes in the ir landscapes due to sea level rise.  \;Sink or Swim aims to f oster critical dialogue through the provocative juxtaposition of diverse re sponses to a challenge shared by millions worldwide.

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Curated by architec ture writer and radio host Frances Anderton with the Annen berg Space for Photography\, Sink or Swim features newly commissio ned and archival works by photographers Iwan Baan\, Stephen Wilkes\ , Paula Bronstein\, Jonas Bendiksen and Monica Nouwens. This is the first exhibition for Annenberg Space for Photography to feature commissioned works. \; Through the work of this select group of architectural\, fine art and news photographers\, the exhibition casts an eye on both the problem of climate change in densely populated coastal regi ons and contemporary design as a means to navigate the changing landscapes.  \;

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&ldquo\;We were eager to organize an exhibition focusing on arc hitecture but adamant that we wanted it to tell the story from a human pers pective\,&rdquo\; says Wallis Annenberg\, Chairman of the Board\, President and CEO of the Annenberg Foundation. \; &ldquo\;We are delighted that these new works tell such powerful stories about resiliency\, climate chang e and architecture as well as engage with viewers on a humanistic level. &n bsp\;The exhibit&rsquo\;s capacity to foster dialogue that offers fresh per spectives on the environmental issues of our day -- and how communities are rising up to meet the challenges -- is very much keeping with the mission of the Photography Space and the Annenberg Foundation.&rdquo\;

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In the fa ce of increasing global attention on climate change and rebuilding in the w ake of Hurricane Katrina\, the Indian Ocean tsunami\, Superstorm Sandy\, an d the \;Tōhoku \;tsunami\, Sink or Swim is a timely examin ation of resiliency strategies in architecture and design.  \;Images ra nge from highly complex coastal flood-mitigation in the Netherlands\, contr oversial sea walls in Japan\, to innovative homes and community buildings b y leading architects including Pritzker prize-winners Thom Mayne\, Toyo Ito and Shigeru Ban.

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Anderton collaborate d with photographers experienced in capturing fragile built environments to determine the locations\, design projects and communities across the world that served as subjects for the commissioned works in the exhibition. &nbs p\;Sea walls\, floating schools and temporary disaster relief housing in di sparate ecological and social contexts provide concrete starting points for considering questions about nature\, culture and design at the heart of Sink or Swim.

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&ldquo\;It has been a privilege to dig into these e xtraordinary photographers&rsquo\; rich archives and also send them back ou t on assignment to create compelling new work that we look forward to shari ng with the public through the exhibition\,&rdquo\; says Anderton.\n

&ldqu o\;Photography is an ideal medium through which to explore climate change a nd the built environment because ultimately this is a human story and the p hotographs get to the emotional heart of that story. Through images of coas tal communities&mdash\;the devastating impact of climate change\, including super-storms and rising sea levels\, and also the varied and innovated des ign solutions&mdash\;Sink or Swim offers visitors the opportunity to engage with and enrich dialogue about all aspects of this predicament.&r dquo\;

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An original documentary film commissioned by the Annenberg Space for Photography and produced by award-winning director Steven Kochones and Arclight Productions will include interviews with the artists\, architects\ , historians and scientists engaged with climate resilient strategies for w aterfront communities. \;

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A collaboration between the Annenberg Spac e for Photography and the Annenberg Retreat at Sunnylands will offer visito rs to Sunnylands a preview of \;select prints from the Sink or Swim exhibition. \; The images will be on display beginning in October 2014 to coincide with a retreat at Sunnylands on the topic of rising sea l evels and ocean acidification. \; An exhibition catalogue will be publi shed by Sunnylands Press for release in December 2014.

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The Photo graphers
Following h is experience photographing the celebrated Makoko Floating School (designed by Kunlé\; Adeyemi for the Makoko community on the water near Lagos\ , Nigeria\,) Dutch photographer Iwan Baan was drawn to the lake village of Ganvie in Benin\, where residents have lived on the water for centuries. New work by Baan in the exhibition also includes photographs of the massive Deltaworks sea defenses\; the promenade at Scheveningen nea r The Hague in the Netherlands\, a flood-protection system interwoven with a tourist destination designed by Spanish firm De Solà\;-Morales\; an d the post-tsunami Home-For-All community buildings by Toyo Ito and other l eading architects in Japan.

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U.S.-based fine art photographer Ste phen Wilkes revisited communities he first encountered in the wake of Hurricane Katrina and Superstorm Sandy.  \;His images include strik ing aerial photographs that present a unique perspective on infrastructure improvements within the context of natural landscapes that remain susceptib le to flooding. Wilkes also created portraits of New Orleans area residents in the newly built homes\, intended to be models for resilience\, by the M ake It Right Foundation and Global Green in the Lower 9th Ward a nd Holy Cross neighborhoods of New Orleans. One of the first photographers to capture aerial images of the coastline damage following Hurricane Sandy\ , Wilkes documented Staten Island&rsquo\;s Oakwood Beach where homeowners h ave elected to sell their property to the state\, which plans to return the area to wetlands rather than rebuild.

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Veteran photojournalist P aula Bronstein traveled to Japan for Sink or Swim and cap tured the immense sea walls now being built off the tsunami-hit coast of Ja pan. She also captured daily life in the storage container structures desig ned by 2014 Pritzker Prize winner Shigeru Ban to house refugees following t he Tohuko earthquake and Tsunami.

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Dutch-born\, Los Angeles-based\, photo grapher Monica Nouwens turned her lens on California\, fin ding in the restored Malibu Lagoon a local example of wetlands restoration. She also captures a very human story of denial\, exemplified in a photogra ph of a California woman walking her dogs\, oblivious to a tsunami sign abo ve her head.

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Sink or Swim also features Norwegian Magnum Photos photographer Jonas Bendiksen&rsquo\;s documentation of Ba ngladesh coastal and delta communities\, where increasingly unpredictable a nd intense flooding has prompted innovative adaptations in a culture that h as dealt with seasonal flooding for centuries. Bendiksen spent two years ca pturing the low-tech structural and farming innovations in the challenging landscape\, as well as the floating schools project designed by Mohammed Re zwan for his nonprofit Shidulai Swanirvar Sangstha.

DTEND:20150503 DTSTAMP:20140916T163334 DTSTART:20141213 GEO:34.0588889;-118.4133333 LOCATION:Annenberg Space for Photography\,2000 Avenue of the Stars Century Plaza\nLos Angeles\, CA 90067 SEQUENCE:0 SUMMARY:Sink or Swim: Designing for a Sea Change\, Iwan Baan\, Stephen Wilk es\, Paula Bronstein\, Jonas Bendiksen\, Monica Nouwens UID:356815 END:VEVENT BEGIN:VEVENT DTEND:20141213T193000 DTSTAMP:20140916T163334 DTSTART:20141213T110000 GEO:34.0588889;-118.4133333 LOCATION:Annenberg Space for Photography\,2000 Avenue of the Stars Century Plaza\nLos Angeles\, CA 90067 SEQUENCE:0 SUMMARY:Sink or Swim: Designing for a Sea Change\, Iwan Baan\, Jonas Bendik sen\, Paula Bronstein\, Monica Nouwens\, Stephen Wilkes UID:356816 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Beasts and Trees\, Cities and Seas

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Bodies of work by Suzanne Unrein and Gay Summer Rick

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Opening Reception: Saturday\, October 4th\, 6-10pm

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Show Duration: September 28th through October 21st

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Second Event: Saturday October 18\, 5-7pm  \;

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Loca tion: bG Gallery (Bleicher/Gorman)\, 2525 Michigan Ave #G8A\, Santa Monica Ca 90404

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T+1 310 906 4211

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Hours: Tuesda y-Saturday 11:30-6pm

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bgartdealings.com

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Press Contact: Shaye Nelson shaye@bgartdealings.com\, 323 7881339

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bG Gallery Ber gamot Station presents Beasts and Trees\, Cities and Seas\, a two person ex hibition featuring bodies of work from artists Suzanne Unrein and Gay Summe r Rick. Both artists juxtapose the natural world against human existence\, reminding the viewer that they\, too\, are a volatile organic entity.

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Gay Summer Rick&rsquo\;s new series City and Coast\, depicts u rban habitats vibrating alongside Southern California&rsquo\;s ephemeral co astline. The dynamic relationship between the two environments is heightene d by the artist&rsquo\;s choice of palette knife instead of brush. Her dist inctive painting style creates an arresting color field in which the city&r squo\;s sharp edges dissolve into the impressionistic embrace of sand\, sea and sky. Rick&rsquo\;s ultimate intention: to transcend the visual by evok ing the emotional experience of a place.

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Suzanne Unrein s tages glorious confrontations: man and beast\, beast and beast\, the dual n ature of man and the beast within - even the artist&rsquo\;s floral still-l ife paintings hint at the battle between life and decay. Confident\, expres sive brushstrokes and a rich color palette follow line and composition in a loose interplay of the abstract and the representational. Underlying the t ense beauty of Unrein&rsquo\;s work is a common theme:  \;creation and destruction are the consequence of being alive.

DTEND:20141021 DTSTAMP:20140916T163334 DTSTART:20140928 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Beasts and Trees\, Cites and Seas\, Gay Summer Rick\, Suzanne Unrei n UID:356643 END:VEVENT BEGIN:VEVENT DTEND:20141004T220000 DTSTAMP:20140916T163334 DTSTART:20141004T180000 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Beasts and Trees\, Cites and Seas\, Gay Summer Rick\, Suzanne Unrei n UID:356644 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the second installment of her Response series\, Laura Pla geman shifts her gaze from land to sea. With continued focus on the materia lity of the photographic print\, her new works oscillate between image and object\, photography and sculpture\, landscape and still life. Each piece i s a &ldquo\;response&rdquo\; to an original image that is sculpted and coll aged into a tabletop assemblage and then re-photographed. The final prints hover between being illusory and tangible\, seemingly impossible but showin g evidence of their actual construction.

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To create the first genera tion images\, Plageman visited popular stops along the California coast\, s cenic destinations that draw countless visitors all with camera in hand. Sh e regards these places as almost object-like themselves in how they are exp erienced and collected. Plageman reflects on how the landscape can be mutab le psychically and physically\, less real through aesthetic distance and li terally changing shape through forces of nature and human impact. With ever y new rendition\, the land acquires layers of meaning and opens up an array of interpretations and possibilities.

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In the end\, Plageman&rsquo\ ;s works are a cumulative record of her observations and experimentation ov er time and space. Each account has a bit of truth and fiction. Heeding Sus an Sontag who said\, &ldquo\;all photographs are momento mori\,&rdquo\; Pla geman reminds us that things change and boundaries shift\, encapsulating th e transience and dynamism of our world. \;

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Laura Plagem an (b. 1976\, Berkeley\, CA) received her BA from Wesleyan Univers ity and MFA from California College of the Arts where she has held various academic appointments. Her work has been in exhibited in galleries and inst itutions across the US\, including recent exhibitions at Photo Center North west in Seattle and Catherine Edelman Gallery in Chicago. She lives and wor ks in Oakland\, California.

DTEND:20141109 DTSTAMP:20140916T163334 DTSTART:20140920 GEO:33.9905078;-118.4663454 LOCATION:De Soto Gallery\,1350 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Response\, Laura Plageman UID:356615 END:VEVENT BEGIN:VEVENT DTEND:20140920T200000 DTSTAMP:20140916T163334 DTSTART:20140920T180000 GEO:33.9905078;-118.4663454 LOCATION:De Soto Gallery\,1350 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Response\, Laura Plageman UID:356616 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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L.A. ARTCORE PRESENTS

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A GALLERY RETROSPECTIVE BY STEPHEN ROBERT JOHNS

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OCT. 1- 30TH\, 2014

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Reception &ndash\; Sunday Oct 5th

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1 p.m. &ndash\; 3 p.m. &ndash\; Artcore Brewery Annex

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Conversation With The Artist Series: 2 p.m.

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L.A. Artcore Brewery Annex

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LOS ANGELES\, CA (Sept .\, 2014) L.A. Artcore has the privilege of presenting a solo exhibit reviewing the career of artist Stephen Robert Johns. Retrospective &ndash\; A Painting Survey 1972-201 4\, contains the evolution of an artist dedicated to the realms of sha pe and silhouette\, edge and pattern. \;

His career opens with completing his degree during the changeover between Chouinard and Cal Arts\, where the influence of Watson Cross\, Hal Jepsen and Matsumi Kanemi tsu influenced his trajectory. \; The young artist found himself fillin g large orders for his minimalist geometric paintings to satisfy a number o f architects\, which led to a period of being burned out on artmaking\, and a new passion for serious\, artistic landscape architecture. \; The fl uidity and negotiable nature of working the land with living materials prov ided him with a creative outlet where he could avoid thinking of styles and what sells. \;

It was not long before the artist found h imself refreshed by a new view of art. \; After learning David Hockney and Frank Gehry were teaching classes to youth at Barnsdall Park\, he obtai ned a position teaching disabled youth. \; Together with experiences tr aveling across the states\, to Japan and Costa Rica\, provided the artist w ith a way to work in terms of what interests him in the now. \; Once he felt he had more to offer\, his work moved into a range of paintings that deal both with stark contrasts and edges\, fields of abstract pattern inspi red by Bauhaus or 20th century modernists\, and a range drawn di rectly from observation\, many of them looking down from a great height. Th ese merged with his work with plants and a love for Zen gardens to produce interlocked

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(Johns\, Pg. 2)

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landscapes a nd river tributaries as abstract plays of sedate colors\, like the verdant heat of yellow against green. \; Hundreds of preliminary sketches from airplane window seats\, using the airsick bags in front of him\, formed the underlayer of this approach to merging geometry\, color and nature.

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Artist Reception:

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Sunday Oct. 5th\, 2014\, 1 p. m. &ndash\; 3 p.m.

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Conversation With the Artist Series at 2 p.m.

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L.A. Artcore Brewery Annex< /p>\n

650A S. Ave. 21.\, Los Angeles\, CA 90031

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Gallery hours: 12 -5 p.m.\, Thu-Sun.

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ABOUT L.A. ARTCORE

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L.A. Artcore helps develop the careers of visual artists of di verse cultural backgrounds\, bringing innovative contemporary art to the pu blic\, and provides educational programs by professional artists for people of all ages. For more information visit www.laartcore.org

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DTEND:20141030 DTSTAMP:20140916T163334 DTSTART:20141001 GEO:34.064801;-118.2168067 LOCATION:LA Artcore Brewery Annex\,650 A South Avenue 21 \nLos Angeles\, CA 90031 SEQUENCE:0 SUMMARY:Stephen Robert Johns Retrospective - A Painting Survey 1972-2014\, Stephen Robert Johns UID:356605 END:VEVENT BEGIN:VEVENT DTEND:20141005T150000 DTSTAMP:20140916T163334 DTSTART:20141005T130000 GEO:34.064801;-118.2168067 LOCATION:LA Artcore Brewery Annex\,650 A South Avenue 21 \nLos Angeles\, CA 90031 SEQUENCE:0 SUMMARY:Stephen Robert Johns Retrospective - A Painting Survey 1972-2014\, Stephen Robert Johns UID:356606 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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L.A. ARTCORE PRESENT S

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A SOLO-EXHIBIT WITH EDEM ELESH

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OCTOBER 1-30TH\, 2014

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Reception &ndash\; Sunday Oct. 5TH

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3 p.m. &ndash\; 5 p.m. &ndash\; Union Center

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Conversation With The Artist Series: 4 p.m.

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L.A. Artcore at Union Center for the Arts

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LOS ANGELES\, CA (Sept.\, 2014) L.A. Art core is pleased to presenta solo exhibit comprised of paintings\, sculptura l installation and performance by Los Angeles artist Edem Elesh.

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El esh's paintings move quickly between color and form\, memory and sensation\ , using his physical experiences to create snapshots of his state of being. \;lThey are like exhalations after taking in the air of an experience.&nbs p\; The mystery of the breath is easily as old as art &ndash\; the words sp irit\, inspiration\, aspire and expire all relate to the Latin word for bre ath. \; His work dwells on the various aspects of the breath\, in the s ense of a boundary where the person living within their subjective reality sends their wind and moisture to greet the outer physical reality with ever y movement.

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In this solo show\, the artist moves on from geometric structures and shapes resembling mystical diagrams in illuminated manuscrip ts\, chthonic images of structure seeking to illustrate a fundamental reali ty\, and now digs into the earth of his experiences traveling\, following h is passions\, celebrating sexuality\, and preserving a sense of luck in lif e. \; One can see glimpses of Wayne Thiebaud&rsquo\;s color and Francis Bacon&rsquo\;s riding the waves of accidents. \; There is also a vanit as sentiment behind all his work\, memories of joy presented together with reminders of the fleeting moments of life. \; The artist is interested in getting a reaction from the viewer\, seeking a moment of discovery\, whe re all the riches of his life can appear together with a shifting sense tim e\, passion\, and an encouraging indication of mortality.

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(Elesh \, Pg. 2)

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This exhibit will be an opportunity to see several sides of an actively creative life\, ranging from sharp drawings executed with speed and a photographic eye\, to sparse\, allegorical landscapes\, pa intings on framed aluminum\, sculptural pieces and a performance on guitar.  \;

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Artist Reception:

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Sunday Oct . 5th\, 2014\, 3 p.m. &ndash\; 5 p.m.

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Conversation W ith the Artist Series at 4 p.m.

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L.A. Artcore at Union Center for the Arts

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120 J udge John Aiso St.\, Los Angeles\, CA 90012

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Gallery hours: 12-5 p.m .\, Wed-Sun.

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ABOUT L.A. ARTCORE \n

L.A. Artcore helps develop the careers of visual artists of diverse cultural backgrounds\, bringing innovative contemporary art to the public\, and provides educational programs by professional artists for people of al l ages. For more information visit www.laartcore.org

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DTEND:20141030 DTSTAMP:20140916T163334 DTSTART:20141001 GEO:34.050988;-118.239927 LOCATION:LA Artcore Union Center for the Arts\,120 Judge John Aiso St. \nLo s Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Edem Elesh Solo Exhibition\, Edem Elesh UID:356603 END:VEVENT BEGIN:VEVENT DTEND:20141005T170000 DTSTAMP:20140916T163334 DTSTART:20141005T150000 GEO:34.050988;-118.239927 LOCATION:LA Artcore Union Center for the Arts\,120 Judge John Aiso St. \nLo s Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Edem Elesh Solo Exhibition\, Edem Elesh UID:356604 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bryan Cantley and Form:uLA&rsquo\;s exhibition is an opus in three disti nct parts&mdash\;the articulation of fallacy and artificial chronology of t he architectural drawing\; the suggested operational misalignments of his v isionary projects\; and the symbolic deconstruction of the gallery.< /p>\n

Form :uLA has always defied established contexts and criteria. The SCI-Arc insta llation is no exception. Challenging the normative &lsquo\;current building practices&rsquo\; that substantiates the gallery&rsquo\;s lexicon\, Cantle y displays a more &lsquo\;conventional&rsquo\; oeuvre of drawings\, models\ , and images. Not a singular materialization\, he presents a body of [predo minantly] new work that suggests alternative spatial discourse. The space i tself is conceptually dissected into a series of graphical surfaces\, with the manifestation of the &lsquo\;antiobject&rsquo\; serving as both display [backdrop\, organizational maneuver] and spatial delineator [object\, anch or].

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Cantley&rsquo\;s work is regularly divided into two distinct\, yet transecting conditions&mdash\;the experimental architectural drawing [< strong>image]\, and the &lsquo\;mechanical architecture&r squo\; paradigm [building-object]. The exhibition pre sents both of these archetypes as conjunctive informants. His drawings chal lenge the architectural descriptive posture of singularity\, while his buil ding indicators suggest a world of implied functionality and machinic soul. And while the drawings and projects somewhat overlap\, each artifact is it s own threshold to a vision of architectural potential. The gallery is conc eptually divided to document two radically different\, yet unmistakably con nected tissues of a conceptual chirality.

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The Dirty Geometries portion houses a series of over 30 hand and hybrid drawings that attempt to enhance the audience as both voyeur and inhabitant\, while simultaneously removing the framework of &lsquo\;the recognizable&rsquo\; as a tool of nav igation. The dirtiness of the geometries refer both to the unresolved natur e of the content\, as well as a condition of physical residue left over fro m an imperfect and [sometimes] organic digitally-infused process of drawing . These graphic experimentations serve as a proactive mode of research\, be coming not so much drawings of objects\, as much as they predict drawings o f drawings.

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The Mechanical Imperfections section presents 10 co nceptual projects that engage a dialogue of imperfect machines struggling t o construct perfect moments of architecture. These visionary projects aband on perceived mechanical precision in lieu of spatial poetics\, political ov erlay and architectural inquiry.

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Both of these categories of work speak of the degree of flaw that is derived from the human condition of the analo g\, though they do so under a disguised veil of ostensible accuracy. The ex hibition is not as much about the strictness of the execution\, as it sugge sts the fallibility of [all] technology. Wabi-sabi insinuates the condition of transience of not only an architectural solution\, but of the vehicles through which such undertakings are discussed. These visionary pro jects attempt to establish a dialogue that broadens the interpretation of t he underbelly of architecture as an explorative discipline. Cantley&rsquo\; s work is that of questions\, not answers. This exhibition questions the ro le of representation in architecture\, the potential of the non-building as critical dialogue\, and the vehicles through which architectural discourse are delivered. It also questions the nature of the imperfect analog within this digital guild.

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About Bryan Cantley / [Form:uLA Dimension L aboratory]
&l dquo\;Racing toward the future implied by the post-urban concatenation of h uman dwellings that is Southern California\, Form:uLA envisions a world whe re the mechanical certainty with which we have shaped our physical environm ent dissolves into the endlessly hovering limbo of the freeway\, the collag e of the televised world view\, and the directional certainty of diagrams t hat tell us where we are in nowhere. Bryan Cantley\, the brain behind the p ost-architecture firm Form:uLA\, gives us a chart to what he sees as our wo rld. He thus is one of the last (though one hopes not the last) architectur e visionaries looking beyond the needs of form and function to formulas for future orders&hellip\;&rdquo\; &mdash\; Aaron Betsky\, In a Ga laxy Closer Than We Think (2006)

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In 1992\, Bryan C antley established Form:uLA\, a practice that explores the boundaries of ar chitecture\, representation and the role of drawing\, within the discourse of visionary space. He filters this research through his conceptual framewo rk of &lsquo\;Mechudzu\,&rsquo\; a system that incorporates biomorphic beha vior of mechanistic entities. Drawing from architecture\, graphic and indus trial design\, music theory/notation and applications of kinesiology\, Cant ley merges these into a voice of undefined chronologies and place\, asking the viewer + occupant to question not only where they are\, but when&hellip \;

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Form:uLA&rsquo\;s work is in the permanent collection of the San Fran cisco Museum of Modern Art\, and has been exhibited internationally\, inclu ding a solo exhibition at The Bartlett in 2008. Cantley has lectured intern ationally\, and is the recipient of a prestigious Graham Foundation grant.< /span>

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A more intimate selection of Canley&rsquo\;s work will be exhibited in N ovember 2014 at the Christopher Mount Gallery in Los Angeles\, and his work will be the subject of a solo retrospective exhibition at the University o f North Carolina Charlotte&rsquo\;s College of Architecture in 2015. Cantle y holds a Master of Architecture from UCLA\, and a Bachelor of Arts in Arch itecture from UNCC.

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Exhibition Discussion &\; Opening Reception: Friday\, October 10\, 7pm
Bryan Cantley and SCI-Arc Director Eric Owen Moss discuss the exhibition

DTEND:20141130 DTSTAMP:20140916T163334 DTSTART:20141010 GEO:34.0432978;-118.2331044 LOCATION:SCI-Arc Exhibitions\,Southern California Institute of Architecture 960 E. Third St.\nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Dirty Geometries + Mechanical Imperfections\, Bryan Cantley UID:356539 END:VEVENT BEGIN:VEVENT DTEND:20141010T210000 DTSTAMP:20140916T163334 DTSTART:20141010T190000 GEO:34.0432978;-118.2331044 LOCATION:SCI-Arc Exhibitions\,Southern California Institute of Architecture 960 E. Third St.\nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Dirty Geometries + Mechanical Imperfections\, Bryan Cantley UID:356540 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Co-curated by Ranger Rick photo editor Susan McElhi nney and G2 Director and Curator Jolene Hanson\, Ricked From the Headli nes will feature photo stories from several of the magazine&rsquo\;s m ost recent issues. Stories about mountain lions\, alien-esque insects and b irds of paradise from the pages of the 47-year old\, kid-friendly publicati on will accompany the images.

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McElhinney has been Ranger Rick&r squo\;s photo editor for 20 years\, and her eye for choosing the right images for the right stories has led to award-winning photographs gracing the magazine&rsquo\;s pages. She and Hanson curated the most compelling vis ual stories from Ranger Rick&rsquo\;s past issues\, working with m ore than a dozen world-renowned photographers\, including Pete Oxford\, Igo r Siwanowicz\, Jeff Yonover and many more.

DTEND:20141102 DTSTAMP:20140916T163334 DTSTART:20140916 GEO:33.990525;-118.46464 LOCATION:The G2 Gallery\,1503 Abbot Kinney Blvd \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Ricked From the Headlines: A Ranger Rick Photo Expedition\, Patrick Landmann\, Brandon Cole\, Suzi Eszterhas\, Christian Ziegler\, Yva Momatiu k\, John Eastcott\, Igor Shpilenok\, Jeff Yonover\, Neil Lucas\, Norbert Wu \, Patrick Kientz UID:356468 END:VEVENT BEGIN:VEVENT DTEND:20140920T210000 DTSTAMP:20140916T163334 DTSTART:20140920T183000 GEO:33.990525;-118.46464 LOCATION:The G2 Gallery\,1503 Abbot Kinney Blvd \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Ricked From the Headlines: A Ranger Rick Photo Expedition\, Brandon Cole\, John Eastcott\, Suzi Eszterhas\, Patrick Kientz\, Patrick Landmann\ , Neil Lucas\, Yva Momatiuk\, Igor Shpilenok\, Norbert Wu\, Jeff Yonover\, Christian Ziegler UID:356469 END:VEVENT BEGIN:VEVENT DESCRIPTION:

LMU sound artist David Karagia nis\, and LMU faculty choreographers Rosalynde Loo and Damon Rago\, along w ith LMU students\, will lead us in unique journeys through the exhibition a nd beyond. Each performance will be a new experience.

DTEND:20141023T200000 DTSTAMP:20140916T163334 DTSTART:20141023T190000 GEO:33.9704172;-118.4174046 LOCATION:Laband Art Gallery\,Loyola Marymount University 1 LMU Drive\nLos A ngeles\, CA 90045 SEQUENCE:0 SUMMARY:Journeys in Sound and Dance (October 23)\, David Karagianis UID:356393 END:VEVENT BEGIN:VEVENT DESCRIPTION:

LMU sound artist David Karagia nis\, and LMU faculty choreographers Rosalynde Loo and Damon Rago\, along w ith LMU students\, will lead us in unique journeys through the exhibition a nd beyond. Each performance will be a new experience.

DTEND:20141007T130000 DTSTAMP:20140916T163334 DTSTART:20141007T121500 GEO:33.9704172;-118.4174046 LOCATION:Laband Art Gallery\,Loyola Marymount University 1 LMU Drive\nLos A ngeles\, CA 90045 SEQUENCE:0 SUMMARY:Journeys in Sound and Dance (October 7)\, David Karagianis UID:356392 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist Mark Ruwedel and urban hiker (and LMU associate professor of history) Nigel Raab will tell stories about the seventy-two-and a half mile adventures they took across Los Ange les and discuss their parallel\, but unique\, projects about the megalopoli s.

DTEND:20141005T150000 DTSTAMP:20140916T163334 DTSTART:20141005T140000 GEO:33.9704172;-118.4174046 LOCATION:Laband Art Gallery\,Loyola Marymount University 1 LMU Drive\nLos A ngeles\, CA 90045 SEQUENCE:0 SUMMARY:72 Miles Across LA\, Mark Ruwedel and Nigel Raab in Conversation wi th Carolyn Peter\, Mark Ruwedel UID:356389 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join us for a conversation wit h artists Kim Abeles\, Gabrielle Ferrer\, Erin Mallea\, and Diane Meyer at 2:30pm and then come celebrate with the artists at an opening reception fro m 4&ndash\;6pm.

DTEND:20140913T160000 DTSTAMP:20140916T163334 DTSTART:20140913T143000 GEO:33.9704172;-118.4174046 LOCATION:Laband Art Gallery\,Loyola Marymount University 1 LMU Drive\nLos A ngeles\, CA 90045 SEQUENCE:0 SUMMARY:Following the Prescribed Path: Artist Talk\, Kim Abeles\, Gabrielle Ferrer\, Erin Mallea\, Diane Meyer UID:356388 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The seven artists in \;Following the Prescribed Path \;took diverse journeys into both u rban and natural landscapes over the course of six decades\, and ultimately transformed their experiences into a range of media. The artists&rsquo\; p rojects suggest diverse reasons for stepping out our doors&mdash\;to follow in someone else&rsquo\;s footsteps (whether they are just in front of you or whether they have long since passed)\, to trace historical wounds\, to m ake a pilgrimage\, or to pursue a hero&rsquo\;s journey in search of a tran scendent experience. While it might be counterintuitive to think that follo wing a predetermined route is creatively stimulating\, the artists in this exhibition suggest otherwise.

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The art ists in \;Following the Prescribed Path \;took diverse jou rneys into both urban and natural landscapes over the course of six decades \, and ultimately transformed their experiences into a range of media. Whil e it might be counterintuitive to think that following a predetermined rout e is creatively stimulating\, the artists in this exhibition suggest otherw ise.

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Standing upright and walking on two legs distinguishes humans from most other animals. As long as we have b een ambulatory\, the urge to walk out the front door and just explore one&r squo\;s environment has been part of the human psyche. Motivated by this ba sic desire\, each of the exhibition&rsquo\;s seven artists embarked on such a journey\, but with a twist. The artists&rsquo\; routes followed a &ldquo \;prescribed path\,&rdquo\; one in which the parameters were established be fore they ever ventured out. Mark Ruwedel followed the seventy-two-and-a-ha lf-mile route through Los Angeles previously taken by an urban hiker. Vito Acconci decided to let strangers on the streets of New York lead him. Kim A beles allowed a mountain\, smoggy conditions\, and &ldquo\;the way the crow flies&rdquo\; to determine her walk. Diane Meyer traced the ghostly existe nce of the Berlin Wall. The urban grid and the romantic pull of the ocean d irected Bas Jan Ader. Gabrielle Ferrer developed schemes for herself inspir ed by earlier wanderers and thinkers. Erin Mallea set out on the well-mappe d Appalachian Trail.

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Their projects s uggest diverse reasons for stepping out our doors&mdash\;to follow in someo ne else&rsquo\;s footsteps (whether they are just in front of you or whethe r they have long since passed)\, to trace historical wounds\, to make a pil grimage\, or to pursue a hero&rsquo\;s journey in search of a transcendent experience. In the process\, they articulate dreams and fears that we all s hare\, and maybe they will inspire us to step out of our daily routines to follow our own prescribed paths.  \;

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Artists&rsquo\; Ta lk and Opening Reception
Saturday\, September 13
Artists &rsquo\; Talk (2:30&ndash\;4pm)\, Reception (4&ndash\;6pm)
Murphy Reci tal Hall and Laband Art Gallery

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Join us for a conversation with art ists Kim Abeles\, Gabrielle Ferrer\, Erin Mallea\, and Diane Meyer at 2:30p m and then come celebrate with the artists at an opening reception from 4&n dash\;6pm.

DTEND:20141123 DTSTAMP:20140916T163334 DTSTART:20140913 GEO:33.9704172;-118.4174046 LOCATION:Laband Art Gallery\,Loyola Marymount University 1 LMU Drive\nLos A ngeles\, CA 90045 SEQUENCE:0 SUMMARY:Following the Prescribed Path\, Kim Abeles\, Vito Acconci\, Bas Jan Ader\, Gabrielle Ferrer\, Erin Mallea\, Diane Meyer\, Mark Ruwedel UID:356386 END:VEVENT BEGIN:VEVENT DTEND:20140913T180000 DTSTAMP:20140916T163334 DTSTART:20140913T160000 GEO:33.9704172;-118.4174046 LOCATION:Laband Art Gallery\,Loyola Marymount University 1 LMU Drive\nLos A ngeles\, CA 90045 SEQUENCE:0 SUMMARY:Following the Prescribed Path\, Kim Abeles\, Vito Acconci\, Bas Jan Ader\, Gabrielle Ferrer\, Erin Mallea\, Diane Meyer\, Mark Ruwedel UID:356387 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140913T160000 DTSTAMP:20140916T163334 DTSTART:20140913T140000 GEO:34.093196;-118.338969 LOCATION:Kohn Gallery\,1227 N. Highland Avenue \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Book Signing: Paintings\, Eddie Martinez UID:356101 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140913T180000 DTSTAMP:20140916T163334 DTSTART:20140913T160000 GEO:34.0314527;-118.3761739 LOCATION:SUSANNE VIELMETTER LOS ANGELES PROJECTS\,6006 Washington Blvd \nCu lver City\, CA 90232 SEQUENCE:0 SUMMARY:Walkthrough with the Artist\, Edgar Arceneaux UID:356100 END:VEVENT END:VCALENDAR