BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Los Angeles Filmforum presents

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The Royal Road\, by Jenni Olson

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Sunda y Aug 2\, 2015\, 7:30 pm

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

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Filmmaker Jenni Olson in person!

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&ldquo\;A breathtaki ng cinematic essay&hellip\;a masterpiece.&rdquo\;&mdash\; Sam Fragoso\, Roger Ebe rt.com

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&ldquo\;A beguiling meditation&hellip\;.serenely accompl ished.&rdquo\; &mdash\; Dennis Harvey\, V ariety

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From acclaimed filmmaker Jenni Olson\, T HE ROYAL ROAD is a stunning feature-length cinematic essay that offers up a primer on the Spanish colonization of California and the Mexican American War alongside intimate reflections on nostalgia\, butch identity\, the ques t for unattainable women\, and Alfred Hitchcock&rsquo\;s Vertigo&m dash\;all against a contemplative backdrop of 16mm urban California landsca pes\, and featuring a voiceover cameo by Tony Kushner.

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For more eve nt information: www.laf ilmforum.org\, or 323-377-7238 \; \; \; \; \; \ ; \; \; \; \; \;

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Tickets: $10 general\, $6 stud ents/seniors\; free for Filmforum members. \; Available by credit card in advance from Brown Paper Tickets at http://bpt.me/2014245 or at the door.

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Screening

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The Royal Road (2015\, USA\, 16mm/HD\, color\, 65 minutes)

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Jen ni Olson\, Writer-Director-Voiceover\; Sophie Constantinou\, Cinematographe r\; Dawn Logsdon\, Editor\; Jim Lively\, Sound\; Julie Dorf\, Producer

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A cinematic essay in defense of remembering\, The Royal Road o ffers up a primer on the Spanish colonization of California and the Mexican American War alongside intimate reflections on nostalgia\, butch identity and Alfred Hitchcock's Vertigo &mdash\; all against a contemplativ e backdrop of 16mm urban California \; landscapes\, and featuring a voi ceover cameo by Tony Kushner.

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I strive in my films to achieve a com bination of essayistic personal reflection\, \; romanticized fictional narrative\, the sharing of lesser-known histories &mdash\; all \; again st a backdrop of carefully composed urban landscape images. Deceptively sim ple California urban landscapes serve as the framework for the film's lyric ally-written voiceover which combines rigorous historical research with a s tream-of-consciousness personal monologue and relates these seemingly dispa rate stories from an intimate\, colloquial perspective to tell a one-of-a-k ind California tale. Shot on 16mm film and contemplatively crafted of long takes\, The Royal Road is a film about landscapes and desire\, mem ory and history - and the stories we tell. \;

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Jenni Ols on is one of the world's leading experts on LGBT cinema history an d is currently VP of e-commerce at WolfeVideo.com. Her debut feature film\, The Joy of Life\, world premiered at the 2005 Sundance Film Festi val and went on to play a pivotal role in renewing debate about the need fo r a suicide barrier on the Golden Gate Bridge\, as well as earning the 2005 Outfest Award for Outstanding Artistic Achievement and the 2005 NewFest Aw ard for Best U.S. Screenplay. Jenni&rsquo\;s most recent short film\, 575 C astro St. premiered at Sundance and the Berlin Panorama in 2009. Commission ed for the release of Gus Van Sant&rsquo\;s Milk\, the film can st ill be seen online at the Milk website\, on the Sundance YouTube Screening Room page\, and in a permanent installation at 575 Castro Street (home of t he Human Rights Campaign Action Center &\; Store).

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In 1995 Jenni was one of the founders of PlanetOut.com where she established the massive queer film industry resource\, PopcornQ and pioneered the first online sho wcase for LGBT short films (the PlanetOut Online Cinema). More recently she co-founded the first global LGBT streaming movie platform\, WolfeOnDemand. com. She is on many advisory boards including the Outfest/UCLA Legacy Proje ct for LGBT Film Preservation\, and Canyon Cinema. She is also on the board of the San Francisco Jewish Film Festival and is very proud to be the co-f ounder of the legendary Queer Brunch at Sundance. She frequently serves as an advisor to filmmakers and is currently a consultant on Deb Shoval&rsquo\ ;s new lesbian feature\, AWOL (now in pre-production).

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As a film co llector and archivist Jenni&rsquo\;s historical movie trailer programs (inc luding the ever-popular: Homo Promo\, which is now available on DVD) have b een shown at film festivals around the world\, as have her many short films and videos. In addition to her vast curatorial experience (including stint s at the Minneapolis/St. Paul and San Francisco LGBT Film Festivals) Jenni has written extensively about LGBT film since 1985 for publications too num erous to mention.

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

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Los A ngeles Filmforum is the city's longest-running organization screening exper imental and avant-garde film and video art\, documentaries\, and experiment al animation. \; 2015 is our 40th year.

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

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Contact us at lafilmforum@yahoo.com.

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Find us online at http://lafilmforum.o rg.

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Become a fan on Facebook and follow us on Twitter @LosAngFilmfo rum!

DTEND:20150802T220000 DTSTAMP:20150728T054934 DTSTART:20150802T193000 GEO:34.101418;-118.336595 LOCATION:Spielberg Theatre at the Egyptian\,6712 Hollywood Blvd. \nLos Ange les\, CA 90028 SEQUENCE:0 SUMMARY:Los Angeles Filmforum presents The Royal Road\, by Jenni Olson\, Je nni Olson UID:391302 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150725T170000 DTSTAMP:20150728T054934 DTSTART:20150725T150000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Some Cleaning: A Choreographic Service by Adam Linder - Second Serv icing\, Adam Linder UID:390913 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join us \;for \;Subject To Cha nge\, \;a VSF panel discussion \;Thursday\,&nb sp\;August 6th\, \;7:30pm.

Andrea Fraser
Amelia Jones
Vanessa Place

Hamza Walker

Moderated by \;Esther Kim Varet
Panelists discuss the role of the artists\, curators\, and critics  \;in addressing work that escapes its intended institutional frame\, and th e question of the unforseen audience response. \;Art is always site-spe cific\, even if that site is the general site of the gallery. If artists ar e responsible for the representations of their art and curators responsible for its framing\, and critics for its external contextualization\, what be comes of these responsibilities when art generates an unanticipated respons e? What happens when a work&rsquo\;s context\, and arguably\, content\, shi fts because of unrelated current events or its reception by a more general (non-art) public? In the age of social media and the involuntary archive\, can art ever remain within the field of art?

This panel has been organized in conjunction with VSF's \;current exhibition\, \;The Slick &\; \;The Sticky. \;

DTEND:20150806T203000 DTSTAMP:20150728T054934 DTSTART:20150806T193000 GEO:34.0857121;-118.3383265 LOCATION:Various Small Fires\,812 North Highland Avenue \nLos Angeles\, Cal ifornia 90038 SEQUENCE:0 SUMMARY:VSF Panel Discussion: Subject To Change UID:390912 END:VEVENT BEGIN:VEVENT DESCRIPTION:
ROBERT BERMAN GALLERY is ple ased to present Habana Cool - an exhibition of paintings by Cuban artist Lu is E. Camejo. Depicted in vast dimension\, Camejo captures the sultry and n octurnal cosmopolitan life of Havana. In Camejo's eye\, the city is drippin g\, moving and resonating the heat of Cuban life. Pre-revolutionary cars sc ream through puddles\, the skies\, the horizon\, the cement pavement merge into one\, and the pedestrians blur into the urban landscape. \;
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Curated by LA art impresario Adolfo V N odal\, this exhibition brings the latest paintings by the artist to Santa M onica. Some of his new themes depict the ever changing city and new images that are the result of an expanded crop of visitors from the US and elsewhe re.
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"...Luis Camejo has consistently captured city life in Havana in all its gritty\, humid and bright splendor. Havana has often bee n compared to Paris and for good reason. The city has its own breathtaking vistas and bohemian culture. Camejo sees the city exactly how you see it an d shows you what it looks like in your dreams..." said Adolfo V. Nodal.\n
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Habana Cool brings Havana movement to the Santa Monica summer . The artist will be present at the exhibition's opening night July 25th. DTEND:20150815 DTSTAMP:20150728T054934 DTSTART:20150725 GEO:34.0276049;-118.4678444 LOCATION:ROBERT BERMAN GALLERY B7\,2525 Michigan Ave. Suite B7 at Bergamot Station Arts Center\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Habana Cool\, Luis E. Camejo UID:390910 END:VEVENT BEGIN:VEVENT DTEND:20150725T200000 DTSTAMP:20150728T054934 DTSTART:20150725T170000 GEO:34.0276049;-118.4678444 LOCATION:ROBERT BERMAN GALLERY B7\,2525 Michigan Ave. Suite B7 at Bergamot Station Arts Center\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Habana Cool\, Luis E. Camejo UID:390911 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist's lecture on the Surrealist fistfight at the Banquet of Saint-Pol-Roux on July 2 1925.

DTEND:20150725T173000 DTSTAMP:20150728T054934 DTSTART:20150725T163000 GEO:34.0314527;-118.3761739 LOCATION:Susanne Vielmetter Los Angeles Projects\,6006 Washington Blvd \nCu lver City\, CA 90232 SEQUENCE:0 SUMMARY:Lecture: "The Raven\, The Dove\, Paul\, and The Peacocks" \, Shana Lutker UID:390909 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Week 7\, now on view: \;

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Tamara Henderson\, \;The Scarecrow's Holiday

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And on  \;Saturday July 25th from 6-8pm\,

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pl ease join us for a talk by writer \;Alexander Keefe \;on dancer \;Viola Farber\,
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with a partial screening of Merce Cunningham's \;

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Crises \;(1961)

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On w eek seven\, Tamara Henderson introduces a new sculpture\, a scarecrow\, a d ecoy. \;A large figure\, mid-motion\, part-human part-architecture\, a totem extending into the exhibition. \;

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Alongside it's entrance\, on Saturday July 25th\, writer Alexander Keefe will give a public talk on Merce Cunningham company dancer (and Blac k Mountain College student) Viola Farber\, accompanied by screened excepts of her films and performances. This talk will focus on \;Crises\, a tense tangle of a dance\, choreographed by Cunningham in 1960 and per formed with Farber. \;In 1961 this piece was translated into film by He len Priest Rogers\, co-founder of the Dance Notation Bureau and a compellin g figure important to any discussion of dance on film\, as well as the hist ory of attempts at "preserving" dance (via notation\, film and photography) . Lastly\, sometime between 1960 and 1961\, Jasper Johns produced a mysteri ous painting titled \;Portrait - Viola Farber\, one which\, we might suppose\, is his own translation of the physical\, emotional and cre ative knot that Viola Farber found herself at the center of\, as a dancer a nd a witness.
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 \;And so\, throu gh \;Crises \;(the dance\, the film\, the painting) and Fa rber's story\, Keefe's talk will bring up the question of how much of a dan ce (and a time) can be captured or preserved\, if any\, and what does it me an to flatten dance onto a screen (or a painting)\, to steal its temporalit y?

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--

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Tamara Henders on \;is an artist based in Vancouver with recent solo shows at the ICA Philadelphia\, the \;Konsthalle Stavenger in Norway and Rodeo Gallery in London. Later this year\, she is will be a participating artist to the \;Glasgow International in Glasgow\, Scotland.  \; \;

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Alexander Keefe\,  \;a freelance writer based in Claremont CA\, writes about art\, media\, aes thetics and Indology for Bidoun\, East of Borneo\, ArtForum.com and others. Recent articles include "Lord of the Drone: Pandit Pran Nath and the Ameri can Underground" in \;Bidoun \;20\, "Whirling in the West" in \ ;Bidoun \;23\, and "Aleph-Null" in \;Bidoun \;27. Keefe studied Sanskrit and Indian studies at Harvard University and was an assistant pro fessor at Ohio University. In 2010 he was the recipient of the Warhol Found ation Art Writers Grant.

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ps: This is Week 7 of a summer-long exhibition\, This Sentence\, who se artists and ideas are accumulating. The exhibition will run from \;J une 6th to August 22nd. It is organized by Public Fiction at China Art Obje cts and will present the work of (in order of appearance): Becket Flannery\ , Gregory Kalliche\, Sascha Braunig\, Jibade-Khalil Huffman\, Emily Mast\, Ryan Gander\, Tamara Henderson\, Helen Marten and Pascual Sisto. \;

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As well as a program of screenings inclu ding: John Smith\, Merce Cunningham\, Sophia Al-Maria\, Charles Atlas\,&nbs p\;Ericka Beckman\, Derek Boshier\, Joan Jonas\, Ohad Fishof\, Tzion Abraha m Hazan\, Babette Mangolte\, Sara Magenheimer\, Rashaad Newsome\, Shahryar Nashat\, A. Michael Noll\, Martine Syms\, and a few more to be announced so on... There will be performances staged by Ryan Gander\, and Adam Linder\, as well as a conversation with writer Alexander Keefe.

DTEND:20150725T200000 DTSTAMP:20150728T054934 DTSTART:20150725T180000 GEO:34.0351575;-118.377008 LOCATION:China Art Objects Galleries\,6086 Comey Ave. \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:Week 7: 'The Scarecrow's Holiday' and a talk by Alexander Keefe\, T amara Henderson UID:390908 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I n the Main Gallery\, MOAH is showcasing The Art of Toys: A Left Coast Retro spective of Designer Toys\, guest curated by Julie B. from Pretty in Plasti c and Heidi Johnson of Hijinx Artist Management &\; PR. This exhibition will feature the top artists and brands that have come to define this art m ovement over the past twenty years and will spotlight the influential histo ry of Art Toys. More than 80 artists\, stores\, and manufacturers will be i ncluded in this exhibition. Artists include: Gary Baseman\, Luke Chueh\, Tr istan Eaton\, Frank Kozik\, Joe Ledbetter\, Buff Monster\, Kathie Olivas\, Brandt Peters\, Mark Ryden\, Greg (CRAOLA) Simkins\, and more. Stores/brand s include: Circus Posterus/Stranger Factory\, DKE Toys\, Giant Robot\, Melt down\, Munky King\, Necessary Toy Foundation\, Pretty In Plastic\, Silent S tage Gallery\, Soap Super 7\, 3D Retro\, and Toy Art Gallery. In conjunctio n\, MOAH will be transforming the first floor Vault Gallery into Collect: A rt Toys and Prints\, a specialized store offering limited edition collectab les.

DTEND:20150908 DTSTAMP:20150728T054934 DTSTART:20150718 GEO:34.6971699;-118.1480359 LOCATION:Lancaster Museum of Art and History\,665 West Lancaster BLVD (Corn er of Ehrlich Ave. and Lancaster BLVD)\nLancaster \, CA 93534 SEQUENCE:0 SUMMARY:PLAY CREATE COLLECT UID:390882 END:VEVENT BEGIN:VEVENT DTEND:20150718T200000 DTSTAMP:20150728T054934 DTSTART:20150718T180000 GEO:34.6971699;-118.1480359 LOCATION:Lancaster Museum of Art and History\,665 West Lancaster BLVD (Corn er of Ehrlich Ave. and Lancaster BLVD)\nLancaster \, CA 93534 SEQUENCE:0 SUMMARY:PLAY CREATE COLLECT UID:390883 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Presented by \;the City of Los Angeles Departmen t of Cultural Affairs\, Los Angeles Municipal Art Gallery \;at the historic Barnsdall Park. Taking place from July 26th through September 20th\, this pioneering biennial exhibition provides emerging artists from across Southern California with a competitive opportunity to exhibit their work.

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DTEND:20150920 DTSTAMP:20150728T054934 DTSTART:20150726 GEO:34.1016178;-118.2950273 LOCATION:Los Angeles Municipal Art Gallery at Barnsdall Park (LAMAG)\,4800 Hollywood Blvd. \nLos Angeles\, CA 90027 SEQUENCE:0 SUMMARY:2015 Los Angeles Juried Exhibition\, Lillian Abel\, Susan Amorde\, A.S. Ashley\, Anne Blecksmith\, Ray Bravo\, Elizabeth Chandler\, Mark Crase \, Andrew K. Currey\, Laura Darlington\, Kristin du Charme\, Shannon Durbin \, Paul Emberger\, Michael Floeck\, Kathi Flood\, David Fobes\, Sarajo Frie den\, Curtis Green\, Carole Goldman\, Matthew Miles Grayson\, Julie Green\, Michael Haasis\, Emily Halpern\, Mark Hayward\, Chris Hopkins\, Walter Imp ert\, Aazam Irilian\, Louis Jacinto\, Robert Klewitz\, Russell Knight\, She ku Kowai\, Joslyn Lawrence\, Brian Kuhlmann\, Dave Lefner\, Edward Lightner \, Bruce Litz\, Patricia Liverman\, Erika Lizée\, Ralph Loynachan\, Dion Ma cellari\, Louisa Miller\, Jason Manley\, Chris Mathis\, Chrystal McConnell\ , Mike McLain\, Zoran Milosavljevic\, Stephen Morrison\, Djibril N'Doye\, J im Newberry\, Brooke Nasser\, Jon Ng\, Michael Ochinero\, Monica Orozco\, T hibault Pelletier\, Susan Price\, Antonio Pelayo\, Melissa Reischman\, Lynd a A.N. Reyes\, Todd B. Richmond\, Regine Rode\, Karrie Ross\, Carol Roullar d\, Kerri Sabine-Wolf\, Nairi Safaryan\, LARISA SAFARYAN\, Ilya Schar\, Dor othy Shepherd\, Mahara Sinclaire\, Olga Seem\, Lidia Shaddow\, Aren Skalman \, Baby Smith\, Cheryl Smith\, Kymm Swank\, Stephanie Sydney\, Lisa Talbot\ , Roger Thomas\, Tiensirin Tienngern\, Sue Tuemmler\, Richard Turner\, Emma lyn Tringali\, Frank Ventrola\, Art Venti\, Dana L. Walker\, Cecily Willis\ , Wendy Widell Wolff\, Tomi Yang\, Peggy S. Zask. UID:390821 END:VEVENT BEGIN:VEVENT DTEND:20150726T170000 DTSTAMP:20150728T054934 DTSTART:20150726T140000 GEO:34.1016178;-118.2950273 LOCATION:Los Angeles Municipal Art Gallery at Barnsdall Park (LAMAG)\,4800 Hollywood Blvd. \nLos Angeles\, CA 90027 SEQUENCE:0 SUMMARY:2015 Los Angeles Juried Exhibition\, Lillian Abel\, Susan Amorde\, A.S. Ashley\, Anne Blecksmith\, Ray Bravo\, Elizabeth Chandler\, Kristin du Charme\, Mark Crase\, Andrew K. Currey\, Laura Darlington\, Shannon Durbin \, Paul Emberger\, Michael Floeck\, Kathi Flood\, David Fobes\, Sarajo Frie den\, Carole Goldman\, Matthew Miles Grayson\, Curtis Green\, Julie Green\, Michael Haasis\, Emily Halpern\, Mark Hayward\, Chris Hopkins\, Walter Imp ert\, Aazam Irilian\, Louis Jacinto\, Robert Klewitz\, Russell Knight\, She ku Kowai\, Brian Kuhlmann\, Joslyn Lawrence\, Dave Lefner\, Edward Lightner \, Bruce Litz\, Patricia Liverman\, Erika Lizée\, Ralph Loynachan\, Dion Ma cellari\, Jason Manley\, Chris Mathis\, Chrystal McConnell\, Mike McLain\, Louisa Miller\, Zoran Milosavljevic\, Stephen Morrison\, Djibril N'Doye\, B rooke Nasser\, Jim Newberry\, Jon Ng\, Michael Ochinero\, Monica Orozco\, A ntonio Pelayo\, Thibault Pelletier\, Susan Price\, Melissa Reischman\, Lynd a A.N. Reyes\, Todd B. Richmond\, Regine Rode\, Karrie Ross\, Carol Roullar d\, Kerri Sabine-Wolf\, LARISA SAFARYAN\, Nairi Safaryan\, Ilya Schar\, Olg a Seem\, Lidia Shaddow\, Dorothy Shepherd\, Mahara Sinclaire\, Aren Skalman \, Baby Smith\, Cheryl Smith\, Kymm Swank\, Stephanie Sydney\, Lisa Talbot\ , Roger Thomas\, Tiensirin Tienngern\, Emmalyn Tringali\, Sue Tuemmler\, Ri chard Turner\, Art Venti\, Frank Ventrola\, Dana L. Walker\, Cecily Willis\ , Wendy Widell Wolff\, Tomi Yang\, Peggy S. Zask. UID:390822 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cherry and Martin is p leased to present Robert Overby (1935-1993): See Robert\, a solo e xhibition spanning three decades of the formidable artist's career includin g sculptures\, works on paper\, neon and paintings.

L ike many earlier artists\, Robert Overby has spent years trying to emulate old master techniques of surface and paint handling. While a student at the Chicago Art Institute in the 50&rsquo\;s he roamed the painting galleries. "Although I&rsquo\;ve been doing fine art only for a few years (1969)\," h e says\, "I can still remember liking what I still like today. Even as adve rtising students\, the Museum galleries always seemed to be part of our ass ignments.&rdquo\; In fact\, the frustration of his inability in his attempt s to blend oil painting and achieve the &lsquo\;look&rsquo\; sent him on so me interesting tangents for the first few years of his fine artists career. Then a friend of a friend gave him some home-brew painting medium formulas and voila!\, old master technique. He still makes medium and paint. "It&rs quo\;s cheaper\,&rdquo\; he says.

Overby&rsquo\;s interest in Baroque era paintings doesn&rsquo\;t\, however\, extend to their narrative content\, "I have to reconstruct the painting in my mind to see whether the re are putti or not\, but the form and feeling are very strong\,&rdquo\; he remarks\, "and the drawing\," he adds. Since ancient art concerns seems so far removed from today&rsquo\;s Overby feels that the precedent for realis tic art is primarily the mass media\, "Photography in particular was import ant to me as a designer - shapes I didn&rsquo\;t draw myself I had photogra phed - and as a way of seeing it still fascinates me.&rdquo\; Another sourc e is commercial illustration\, pocket book covers in particular\, "The 40&r squo\;s and 50&rsquo\;s had some marvelous illustrators\," and although the ir style of painting had died out for years\, "it&rsquo\;s come booming bac k on the cover of romance novels\,&rdquo\; he says happily. "When I was goi ng to school here in Los Angeles\, there were also great handpainted billbo ards around\, like the Gas Company boards\, for instance. There&rsquo\;s a (billboard painting of the) head of &lsquo\;David&rsquo\; at Forest Lawn in Glendale now that&rsquo\;s a knockout\, a real good painter." Overby conti nues\, "Most representational artists shy away from the commercial stuff&he llip\;I like it!&rdquo\; So much for precedent.

It all has to do with the accessibility of image\, Overby says\, and he sees nothing wron g with the old saws\, it&rsquo\;s what you do with them that counts\, he cl aims. Overby&rsquo\;s painted collage images belie their source and origina l intent\, like as not forming a kind of grim sociological footnote. His ar t in the 70&rsquo\;s had something to do with the burgeoning of pornography then and still extant. Plus it turned up at his fingertips\, "My Hollywood Boulevard studio - at the crotch of Hollywood and Sunset - had a sometime porn printer nearby. I used to raid his dumpster\,&rdquo\; he says\, "The p ress sheets I&rsquo\;d find were all the things that could go wrong with a printing press\; smears caused by dryers and water balance problems\, muscu lar and registry\, images that looked like what some N.Y. painters are doin g today\,&rdquo\; he laughs.

One direction Overby&rsquo\;s art is taking at present time is in what he calls his &lsquo\;Disparate Women&r squo\; series painted from paperbacks\,"Late 50s paperback covers are somet hing else\,&rdquo\; he comments\, "sexy woman victims\, and we wonder at ou r present reality." Overby tends to be an observer\, even a voyeur\, rather than a moralizer\, which puts him at odds with some. He seldom glosses his content\, bringing up serious questions of responsibility. On this he take s the First Amendment.*

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*All of the above text was written by Robe rt Overby at some point in the 1980&rsquo\;s and released by him as an info rmal\, quasi-promotional pamphlet (one of a set of six pamphlets published by the artist). At the time he wrote these words\, Overby had chosen to ope rate largely outside the art world. He was judge and jury for himself and h is artistic output\, much as he had been since the publication of his &lsqu o\;red book\,&rsquo\; 336 to 1: August 1973-July 1969 in 1974. Robert Overby passed away in 1993.

Overby&rsquo\;s work was recently the subject of a major solo mu seum survey\, Robert Overby: Works 1969 &ndash\; 1987\, curated by Alessandro Rabottini [Centre d&rsquo\;Art Contemporain (Geneva\, Switzerla nd)\; travelled to Galleria d'Arte Moderna e Contemporanea di Bergamo (Berg amo\, Italy)\, Bergen Kunsthall (Bergen\, Norway) and Le Consortium (Dijon\ , France)]. Robert Overby: Works 1969 &ndash\; 1987 was accompanied by a ma jor publication of the same title. Robert Overby&rsquo\;s work is in such c ollections as Metropolitan Museum of Art (New York)\; Museum of Modern Art (New York)\; Whitney Museum of American Art (New York)\, Weatherspoon Art M useum (Greensboro)\; Art Institute of Chicago (Chicago)\; San Francisco Mus eum of Modern Art (San Francisco)\; Museum of Contemporary Art (Los Angeles )\; Los Angeles County Museum of Art (Los Angeles)\; Hammer Museum (Los Ang eles)\; and Museum of Contemporary Art (San Diego).

DTEND:20150919 DTSTAMP:20150728T054934 DTSTART:20150808 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:See Robert\, Robert Overby UID:390775 END:VEVENT BEGIN:VEVENT DTEND:20150808T200000 DTSTAMP:20150728T054934 DTSTART:20150808T180000 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:See Robert\, Robert Overby UID:390776 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cherry and Martin is p leased to present Try again. Fail again. Fail better. This exhibit ion examines four artists&rsquo\; explorations of ceramics and the inherent nature of its process\, contributing authentic voices to the conversation surrounding clay. Artists working today are continually embracing modes of the medium\, often freeing it from the rooted sense of tradition and functi onality\, but ever interested in the physical &lsquo\;making&rsquo\; of art . The show title\, taken from Samuel Beckett&rsquo\;s 1983 prose Worstw ord Ho\, emphasizes the chance driven process that is often part of wo rking with clay. Multiple attempts are made\, fired\, re-fired\, glazed\, g lazed again\, assembled\, re-assembled\, and so forth. The unfolding of thi s progression is ultimately what draws us to the final objects.

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Katy Cowan&rsquo\;s slip cast ceramic o bjects are conceptual signifiers of her practice&rsquo\;s larger purpose: r epeating object\, idea and meaning through multiple castings. A hammer\, fo r example\, is cast over and over again becoming a painterly ceramic parody of itself before being put back to use as a studio tool. Often incorporate d into larger installations with other craft oriented media such as hand br aided and dyed ropes\, Cowan&rsquo\;s ceramic objects index her own physica l approach to making work in her studio.

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Young Japanese artist\, Takuro Kuwata\, draws from tradition\, but his haphazard approach to the medium is both innovative and exploratory. Kuwata &rsquo\;s work combines eastern tradition with western technique. This dual ity manifests itself in pop colored vessels and mounds encrusted with metal lic drips atop ruptured surfaces of clay that have been blown apart from a firing technique called Ishihaze or &ldquo\;stone explosion."

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William J. O&rsquo\;Brien&rsquo\;s practice expand s well beyond ceramics and includes collage\, drawing\, painting\, tapestri es and sculpture. His ceramic works are both impulsive and primitive in the ir making\, but pay keen attention to color\, pattern and form. Ceramic pie ces are stacked atop one another as totem-like forms and can feel both play ful and irregular. However\, O&rsquo\;Brien&rsquo\;s distinct visual langua ge is that of an artist drawing from history\, language\, popular culture\, and ethnogaphic narratives.

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Adam Sil verman&rsquo\;s ceramic vessels are rooted in the centuries-old tradition o f throwing clay. However\, Silverman is as much of an installation artist a s a ceramicist and often approaches a body of work as a whole rather than t hrough singular objects. Ceramic vessels sit atop precisely chosen bases\, and various vessels are fired and glazed multiple times - at times\, togeth er in one kiln. A fusion of form\, experimentation and tradition are the fo undation of Silverman&rsquo\;s practice.

DTEND:20150919 DTSTAMP:20150728T054934 DTSTART:20150822 GEO:34.033513;-118.375451 LOCATION:Cherry and Martin - 2732\,2732 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Try again. Fail again. Fail better.\, Katy Cowan\, Takuro Kuwata\, William J. O’Brien\, Adam Silverman UID:390773 END:VEVENT BEGIN:VEVENT DTEND:20150822T200000 DTSTAMP:20150728T054934 DTSTART:20150822T180000 GEO:34.033513;-118.375451 LOCATION:Cherry and Martin - 2732\,2732 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Try again. Fail again. Fail better.\, Katy Cowan\, Takuro Kuwata\, William J. O’Brien\, Adam Silverman UID:390774 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151017 DTSTAMP:20150728T054934 DTSTART:20150912 GEO:34.075883;-118.350767 LOCATION:Richard Telles Fine Art\,7380 Beverly Boulevard \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Solo Exhibition\, John McAllister UID:390771 END:VEVENT BEGIN:VEVENT DTEND:20150912T200000 DTSTAMP:20150728T054934 DTSTART:20150912T180000 GEO:34.075883;-118.350767 LOCATION:Richard Telles Fine Art\,7380 Beverly Boulevard \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Solo Exhibition\, John McAllister UID:390772 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An encrusted pillar. A standin g\, lodged and vertical oak. Pierced through the body from above by a concr ete column\, entwined\, locked and locking worlds together.

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Provoking the limits of a form\, contort or melt to move through. A patch of undead chia\, a feigned arability\, retreating fr om or pushing into life. Distant landscapes point at conflicting realities.

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A coral swamp pulses in a violent t hrust. Disorientation in a synthetic maze born from a path\, trapped in pla ce and presenting solace as if it were some kind of raft leading ahead in a n effervescent flow.

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Between the bai t and the mouth. Iridescent jaws pierce water\, leaping outwards and crashi ng to disperse a mist. Eyes sink to water level\, a duplicitous vantage poi nt. The flesh of mud on toes\, slowly letting go into a tread\, a submergen ce into a drifting dive.

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A cocoon\, one or many bodies nesting\, a feverish molt. A chrysalis waiting to hatch and swarm. A reason for caution\, care of the fragile panoply&rsquo\;s late nt hatchling. A sign of a new inhabitant.

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Sirens and tricksters\, a languid social flesh of aggregate forms ado rned at the end of a morass. A palace complex becomes an alcoved cell\, a p rison and a dwelling\, forever dislocated in the depths. The light is a bai t beckoning\, to dive into a darkness\, provoked by an angler.

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Constrained and afloat\, a body conflicted\, twi sted and spit out\, dizzied in the rip. The net of an Other pulls and drags \, caught and entwined\, a moment of buoyancy in a departure. A hidden worl d of copycats reflecting an image of yourself. A piercing agent\, the grada tion of diminishing light. Vacating a bounded rationality to swim and build in an entropic swirl\, and then coming home.

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Midway through the exhibition the work &ldquo\;Scattered A\, Scatt ered K&rdquo\; (2012-2015)\, a collaborative work by Das Institut and Allis on Katz\, will be removed from the gallery and brought to an off-site buria l ground\, left to decompose\, and replaced by a video documenting the fina l passage of this work&rsquo\;s material life\, which was first exhibited a t Family Business in 2012 and then in Gaylen Gerber&rsquo\;s 2013 exhibitio n at MCA Chicago.

DTEND:20150905 DTSTAMP:20150728T054934 DTSTART:20150726 GEO:34.1020306;-118.3218147 LOCATION:Freedman Fitzpatrick\,6051 Hollywood Blvd. # 107\nLos Angeles\, C A 90028 SEQUENCE:0 SUMMARY:Dredgers on the Rail\, Mathis Altmann\, DAS INSTITUT\, Allison Katz \, Rochelle Goldberg\, Juan José Gurrola\, Julien Nguyen\, Margaret Salmon\ , Oscar Tuazon UID:390769 END:VEVENT BEGIN:VEVENT DTEND:20150726T210000 DTSTAMP:20150728T054934 DTSTART:20150726T190000 GEO:34.1020306;-118.3218147 LOCATION:Freedman Fitzpatrick\,6051 Hollywood Blvd. # 107\nLos Angeles\, C A 90028 SEQUENCE:0 SUMMARY:Dredgers on the Rail\, Mathis Altmann\, Rochelle Goldberg\, Juan Jo sé Gurrola\, DAS INSTITUT\, Allison Katz\, Julien Nguyen\, Margaret Salmon\ , Oscar Tuazon UID:390770 END:VEVENT BEGIN:VEVENT DESCRIPTION:

bG Gallery presents &ldquo\;Pretty Pollution\," an exhibit featuring new bodies of work by Doug las Alvarez and Kimber Berry\, as well as a group exhibit of artists who ca pture beauty in unexpected places. \;

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Alvarez explores his experiences within the city of Los Ange les and its decay using humor and popular iconography. He observes that\, & ldquo\;Collectively\, LA is changing and what I can do is visually document this evolution and endeavor to find beauty in unlikely places.&rdquo\; &nb sp\;Alvarez draws his inspiration for his artwork from subjects others woul d easily overlook\; from a crack in the sidewalk to a foreclosed home. Alva rez is allured to the deterioration of Los Angeles and when he ventures out in exploration he describes himself as a tourist in his own city.  \;  \; \;

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Through her series of paintings\, Plastic Gardens\, Berry raises important social quest ions as to how we live and interact with nature. As we encroach further int o natural environments that were once untouched and eliminate them\, will w e be able to restore balance and harmony with Mother Earth\, or have we alr eady caused irreparable damages? Being surrounded by steel\, we feel a disc onnect from nature and are compelled to create green spaces\, oases\, parks \, constructed waterfalls\, highly designed flower beds\; essentially forma tting nature based on our own terms. Plastic refers to the materials the ar tist uses\, as well as the flexibility of these in-organic environments to exist and to take any form the gardener wishes. \;

DTEND:20150725T183000 DTSTAMP:20150728T054934 DTSTART:20150725T163000 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:PRETTY POLLUTION: New bodies of work by Douglas Alvarez and Kimber Berry - Closing\, Douglas Alvarez\, Kimber Berry UID:390704 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130112 DTSTAMP:20150728T054934 DTSTART:20121201 GEO:33.7461829;-117.8685818 LOCATION:Orange County Center for Contemporary Art\,117 N. Sycamore \nSanta Ana \, CA 92701 SEQUENCE:0 SUMMARY:Give Us Your Best Shot\, Robin Repp UID:390647 END:VEVENT BEGIN:VEVENT DTEND:20121201T220000 DTSTAMP:20150728T054934 DTSTART:20121201T180000 GEO:33.7461829;-117.8685818 LOCATION:Orange County Center for Contemporary Art\,117 N. Sycamore \nSanta Ana \, CA 92701 SEQUENCE:0 SUMMARY:Give Us Your Best Shot\, Robin Repp UID:390648 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Moist \;casts a long\, slow lo ok at sensuality\, sexuality and eroticism in today's art\, giving free rei gn to desire.

DTEND:20150712 DTSTAMP:20150728T054934 DTSTART:20150606 GEO:33.7461829;-117.8685818 LOCATION:Orange County Center for Contemporary Art\,117 N. Sycamore \nSanta Ana \, CA 92701 SEQUENCE:0 SUMMARY:Moist\, Evalynn Alu\, Courtney Gordon\, Beverly Jacobs\, Robin Repp UID:390645 END:VEVENT BEGIN:VEVENT DTEND:20150606T200000 DTSTAMP:20150728T054934 DTSTART:20150606T180000 GEO:33.7461829;-117.8685818 LOCATION:Orange County Center for Contemporary Art\,117 N. Sycamore \nSanta Ana \, CA 92701 SEQUENCE:0 SUMMARY:Moist\, Evalynn Alu\, Courtney Gordon\, Beverly Jacobs\, Robin Repp UID:390646 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition is multi-layered in concept s and features Orange County artist &\; exhibition curator\, Jeffrey Fri sch and photographer/scientist/mathematician Minor White.

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On its surface it is a mildly whimsical exhibition celebrating cre ativity. Using narrative from science and near-science\, it's much more sub versive subtext seeks to undermine a substantial portion of Western Civiliz ation's 2000 year old-plus foundational belief system. The exhibit has also been organized to subtly respect one of the Ten Commandments while concurr ently meta-referencing today's technological reshaping of entertainment del ivery.

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A n additional exhibition innovation is a web site page as an art piece for t his exhibit by Mr. White\, an academically documented exo-planet discoverer . \;
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http://www.mpc643.com/news/teleportation.php
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DTEND:20150829 DTSTAMP:20150728T054934 DTSTART:20150801 GEO:33.7461829;-117.8685818 LOCATION:Orange County Center for Contemporary Art\,117 N. Sycamore \nSanta Ana \, CA 92701 SEQUENCE:0 SUMMARY:This May All be a Lie: Jeffrey Frisch Solo Show\, Minor White\, Jef frey Frisch UID:390635 END:VEVENT BEGIN:VEVENT DTEND:20150801T220000 DTSTAMP:20150728T054934 DTSTART:20150801T180000 GEO:33.7461829;-117.8685818 LOCATION:Orange County Center for Contemporary Art\,117 N. Sycamore \nSanta Ana \, CA 92701 SEQUENCE:0 SUMMARY:This May All be a Lie: Jeffrey Frisch Solo Show\, Jeffrey Frisch\, Minor White UID:390636 END:VEVENT END:VCALENDAR