BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:
Artist Lab open studio\, January 14 - March 29
\nOpenin g Reception\, February 23\, 8 - 10 pm \n
'Born to Curate' Event \, 6:00 - 8:00 pm
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SANTA MONICA\, CA - Encompassing 18th Street Arts Cent er's Visiting Artist Residency Program\, its Artis t Labs process-based exhibition series\, and in partnership with H ighways Performance Space\, Paris-based artists Ivan Argote and Pauline Bastard tap into multiple platforms for publ ic engagement from January through March 2013. Guest-curated by Isabelle Le Normand\, Argote and Bastard are frequent collaborators that create "scena rios" as the premise for their art-making. Often times relying on public or community participation\, Argote and Bastard favor the unexpected outcomes that arise from collective action. A group of videos\, objects and functio nal installations will occupy the main gallery\, and new works will be deve loped on-site throughout the course of their residency. 

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As a culminatin g event\, Argote and Bastard present  BORN TO CURATE\, a l ive curatorial battle that pits four teams of Los Angeles-based curators he ad to head in a fast-paced game of wit and knowledge. Structured like a gam e show\, teams have two minutes to conceptualize a curatorial project or ex hibition in response to a theme picked at random. Inverting the largely pri vate curatorial process into a public event\, ideas behind the construction of meaning are infused with open response and humor. Winners are determine d by an applause meter and receive the coveted BORN TO CURATE trophy. 

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Ivan Argote &\; Pauline Bastard and BORN TO CURATE are part of Ceci n'est pas...\, a p roject initiated by the Cultural Services of the French Embassy in the Unit ed States in association with the Institut Français\, with the support of t he Alliance Française of Los Angeles\, the French Ministry of Culture and C ommunication and the participation of many local institutions over the cour se of five months.      

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DATES:

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Residency: January 2 - February 28\, 2013

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Artist Labs Exhibition: January 14 - March 29\, 2013 (in process until February 2 3)

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Public Event and Reception: February 23\, 2013

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Iván Argote    

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Iván Argote was born in Bogota in 1983. He lives and works between Paris and New York\, and gra duated from the Beaux-Arts in Paris in 2009.  Recent exhibitions include: 3 0th São Paulo Biennial\, "Sin heroísmos\, por favor" (solo)\, CA2M\, Madrid (2012)\; Art Brussels (solo)\, Perrotin booth (2012)\; Girarse\, Joan Miró Fundation\, Barcelona\; The Dialectic City\, Laboratorio de Artes Binarios \, Puerto Rico (2011)\; Caliente\, Galerie Emmanuel Perrotin\, Paris\, 2011 (solo show)\; A brake to dance\, Galerie Valenzuela &\; Klenner\, Bogot a\, Colombia\, 2009\; Zapping Unit\, MAC/VAL Museum of Contemporary Art of Val-de-Marne\, Vitry-sur-Seine\, France\, 2009. He's preparing upcoming exh ibitions\, including: 30th Sao Paulo Biennale (Sep 2012)\; La Estrategia\, Palais de Tokyo (Dec 2012). Iván Argote's practice deals with social\, poli tical and art historical fields through mediums as varied as video\, photogr aphy\, sculpture and painting. Being simultaneously the director and main a ctor in his work\, Iván interrogates with humour the views and perspectives imposed by our social positions\, the status of an artwork and the notion of interactivity\, which he addresses through a fictionalisation of the ever yday.

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Pauline Bastard

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Pauline Bastard was born in 1982 and lives and works between Paris and New York. She graduated in 20 09 from the Beaux-Arts in Paris and from the University of La Sorbonne\, Pa ris in 2010\, she then spent a one year research residency in New York Univ ersity. Recent exhibitions include: 30th São Paulo Biennial\, Unheimliche R eisen at Dienstgebaude\, Zurich\; Coup Double at FRAC Aquitaine\, Bordeaux\ ; Voyage voyage at Maison de l'Amérique Latine\; Green-white-red at Collezi one Maramotti\, Regio Emilia\, Italia\; Jours Heureux at 80WSE\, New York\; XOVUXY at Eva Hober gallery\, Paris (solo show)\; Rehab\, Espace Electra\, Paris. She is now in residency in Domaine departemental de Chamarande wher e she is preparing for upcoming exhibitions\, including the 30th Sao Paulo biennal. She invites us into a world where fiction and reality are entangled \, at the heart of which misleading fictions reign. Through mediums such as video and sculpture\, she plays with and defies narrative processes through the phenomenon of detachment\, re-appropriation and semantic displacement. Popular objects and everyday materials are omnipresent in her practice\, cr eating a complicit game with the spectator where the veracity of their ficti onal and dramatic potential is questioned. The Sauna\, Mains d'Oeuvres\, 20 10\, Paris

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Curator\, Isabelle Le Normand  

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Isa belle Le Normand is curator and Director of Visual Arts at Mains d'Œuvres\, a nonprofit\, multidisciplinary gallery and performance space in the heart of the Flea Market of Paris showing emerging\, mid-career and established a rtists. She has recently organized the exhibitions Better Being a Virus Tha n Catching a Cold\, (Budapest\, FKSE 2011\, Mains d'Œuvres\, 2008)\, An Auc tion\, (Mains d'Œuvres\, 2011)\, Who do you admire ? (La Box\, Bourges\, 20 11)\, La Famille Farrell (Maison Populaire\, Montreuil \; Mains d'Œuvres\, Saint-Ouen\, 2010)\, Diagonal Argument (Bétonsalon\, 2008). Since September 2011\, she runs the seminar  Los Angeles -from Margins to Center at ESAAA\ , Annecy. She is currently in residency at Cité Des Arts in Paris to curate the project I Am Here For You\, to establish links between artists from ab road and the Parisian art scene. 

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Ceci n'est pas... is a project initiated by the Cultural S ervices of the French Embassy in the United States in association with the Institut Français\, with the support of the Alliance Française of Los Angel es\, the French Ministry of Culture and Communication and the participation of many local institutions.Ceci n'est pas... will begin on December 1\, 20 12 with the opening of the exhibition LOST IN LA\, organized by the FLAX Fo undation and will continue for 5 months\, ending in April 2013. It will gat her more than 30 Franco-American collaborations that are being prepared by art centers\, museums\, art schools and non-profit organizations in Los Ang eles\, covering a large spectrum of contemporary creation\, from sculpture to performance\, and from architecture to video.

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In 2006\, The Cent re Pompidou proposed the exhibition\, "Los Angeles\, 1955-1985\, Birth of a n artistic capital". Building on this large exhibition\, through the existi ng references to French art and culture in the Los Angeles art scene\, it b ecame pertinent to highlight the ties between France and the City of Angels \, which has since become a true cultural capital of the world.

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DTEND:20130329 DTSTAMP:20140919T053848 DTSTART:20130114 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Artist Labs Exhibition\, Ivan Argote\, Pauline Bastard UID:249287 END:VEVENT BEGIN:VEVENT DTEND:20130223T220000 DTSTAMP:20140919T053848 DTSTART:20130223T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Artist Labs Exhibition\, Ivan Argote\, Pauline Bastard UID:249288 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In a small art department 50 miles north of Santa Monica\, Christine Mor la and Ichiro Irie teach painting\, drawing and design at Oxnard College\, in a city perhaps better known for its agriculture\, military base\, and pu nk rock than for its visual art. Irie and Morla are current and former resi dents of 18th Street Arts Center\, respectively\, and both are alumni of Cl aremont Graduate University. Each brings an unconventional teaching style t hat emphasizes both traditional techniques and newer approaches in art maki ng to a community\, which despite its proximity to Los Angeles\, has limite d exposure to contemporary art. This mixed strategy\, implemented with a ti ght-knit set of students and faculty\, has generated a prominent core group whose works are commensurate with college and university art students acro ss Southern California. Disciplines\, genres and styles encompass conceptua l and post-conceptual works\, low-brow and street art\, photography and ill ustration\, and architecture. The Oxnartians Have Landed features recent students of Oxnard College who represent the most promising talents from the past 5 years.

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Many have transitioned to four-year academic inst itutions such as UCLA\, UC Berkley\, UC Santa Barbara\, Cal State L.A.\, Ca l State Long Beach\, and Otis College\, while others that have completed th eir undergraduate educations have done so with aplomb. As most of the young artists in this exhibition have relocated to the greater Los Angeles area\ , it is clear that the Oxnartians have landed\, and they are here to stay.< /span>

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CHRISTINE MORLA

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Christine Morla is an interdisciplin ary artist and arts educator. Her practice includes drawing\, painting\, an d installation. Ms. Morla graduated with a B.A. from Loyola Marymount Unive rsity and received her M.F.A. from Claremont Graduate University. Her work has been exhibited internationally at venues such as at Art Frankfurt\, Ger many\, Rimjaus Gallery\, Mexico City\, The Armory Show\, New York\, Santa B arbara Contemporary Arts Forum\, Riverside Art Museum\, Huntington Beach Ar t Center\, Raid Projects\, Los Angeles and 18th Street Arts Center\, Santa Monica. Recent solo shows include The Space Between at CSU Channel Island N apa Gallery\, Fields of Color at Left Coast in Goleta\, CA\, and an upcomin g show of new works at Carnegie Museum in Oxnard\, CA. Currently\, she teac hes at Oxnard College\, and is Gallery Director of the McNish Art Gallery. Her numerous curatorial projects include “The Color of God: Contemporary Ex pressions of Spirit\, Race and Justice” at the Laband Art Gallery at Loyola Marymount University and “Tabo(o) an exhibition of Filipino-American artis ts at Claremont Graduate University’s White Room Gallery. From 2002-2004\, she served as an independent co-curator of exhibitions at Crazy Space Galle ry in Santa Monica\, California. Her work is featured in New American Paint ings\, issue #85\, Spring 2010.

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ICHIRO IRIE

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Born in Tokyo and ra ised in Los Angeles\, Ichiro Irie received his B.A. from University of Cali fornia\, Santa Barbara and his M.F.A. from Claremont Graduate University. I n 2001\, Irie went to Mexico City on a Fulbright fellowship\, and has maint ained an active relationship with the visual art community in Mexico. Irie has exhibited his work internationally in galleries and museums such as Tor rance Art Museum in Los Angeles\, Gallery Lara Tokyo\, CSW Museum in Warsaw \, Museo Carrillo Gil in Mexico City\, and Hendershot gallery\, New York. S ince 2009\, he has had solo shows at Yautepec gallery\, Mexico City\, CAM C ontemporaneo\, Guadalajara\, Casa Del Tunel\, Tijuana\, Sam Francis Gallery \, Santa Monica and eitoeiko gallery\, Tokyo. In 2013 he has exhibited at U niversity Art Museum\, Long Beach\, CA\, and as part of the Mexicali Bienni al at Vincent Price Museum in Los Angeles\, CA. As a curator he has organiz ed over 30 exhibitions at venues such as 18th Street Arts Center and Raid P rojects in Los Angeles\, Art &\; Idea and MUCA Roma in Mexico City\, and Kyubidou Gallery in Tokyo. Irie currently lives and works in Los Angeles\, teaches at Santa Monica College and Oxnard College\, and is an artist in r esidence at the 18th Street Arts Center. He was Founding Editor of RiM maga zine\, and is currently Director of JAUS\, Los Angeles.

DTEND:20130329 DTSTAMP:20140919T053848 DTSTART:20130223 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:The Oxnartians Have Landed\, PMBeers\, Aaron Dadacay\, Yi Gao\, Ant onio Garcia\, Olivia Jones-Hernandez\, Ana Morales\, GeeGee Ontiveros\, Gla dys Rodriguez\, Olguin Tapia\, Maria Villote\, Jeannette Viveros\, Jose Del gado Zuniga UID:261683 END:VEVENT BEGIN:VEVENT DTEND:20130223T220000 DTSTAMP:20140919T053848 DTSTART:20130223T200000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:The Oxnartians Have Landed\, Aaron Dadacay\, Yi Gao\, Antonio Garci a\, Olivia Jones-Hernandez\, Ana Morales\, GeeGee Ontiveros\, PMBeers\, Gla dys Rodriguez\, Olguin Tapia\, Maria Villote\, Jeannette Viveros\, Jose Del gado Zuniga UID:261684 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A+D Museum is pleased to present Airport of the Future\, the international student competition entries and winners of the Fentress Global Challenge 2011 as part of the larger traveling exhibit ion Now Boarding: Fentress Airports + The Architecture of Flight w hich is featured in three parts here in Los Angeles. The Museum of Flying w ill be exhibiting Now Boarding\, and the Flight Path Museum is hig hlighting the rich past and promising future of LAX with artifacts from LAX ’s past and a large-scale model of the new Tom Bradley International Termin al.

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A+D Museum’s exhibition\, Airport of the Future celebrates insights on the future design of airports by un iversity students from around the world. The show also examines the future of flight through the minds of the architects behind the modernized Tom Bra dley International Terminal. Freehand sketches and final renderings from Fe ntress Architects’ Airport of the Future think tank provide a rare glimpse into the architect’s imagination and design process. The exhibition also in cludes a look at the architect’s scale model of the master plan for LAX’s f uture.

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RECE PTION | SATURDAY MARCH 9TH | 6.00 - 8.00PM

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Join us in exploring the future of airport design with drinks and hors d’oeuvres at the Airports of the Future opening reception\, S aturday March 9\, 2013. 

Admission: $10 Individual\, A+D Members and Student w/valid ID FREE with RSVP
 

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>\;TICKET PURCHASE | STUDENT RSVP | A+D MEMB ER RSVP

DTEND:20130407 DTSTAMP:20140919T053848 DTSTART:20130309 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Airports of the Future UID:264605 END:VEVENT BEGIN:VEVENT DTEND:20130309T200000 DTSTAMP:20140919T053848 DTSTART:20130309T180000 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Airports of the Future UID:264606 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Depicting the human body has been among the primary preoccupations and achievements of artists for millenni a. Drawing inspiration from historic precedents in painting\, sculpture\, photography and film history\, for t he past twenty years Samuel Bayer h as produced still photographs alongside his innumerable award-winning music videos\, film and commercials. Bay er has evolved an aesthetic of gritty rawness\, a now emblematic style that has typified his music videos sinc e his groundbreaking first with Nir vana in 1991. The culmination of his recent photography is a large-scale se ries of black and white photographi c nude portraits\, being exhibited for the first time at Ace Gallery Beverly Hills.

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A series of sixteen nud es\, shot in three sections with a large-format 4” x 5” camera in the studio against a simple white backdrop\, envision larger-than-life contemporary studies of young women\, tackling the time-immemorial subject of the n ude. They are accompanied by two di ptychs of faces in extreme close-up\, eyes open\, eyes closed\; the features and cool gaze of his subjects rev eal every freckle\, line and follicle. Face\; eyes\, hair - features become a landscape to traverse as our eye wanders human terrain. These are m odels and individuals Bayer has worked with and known over the past decade\, becoming living archetypes in the colossal scale of ancient goddesses looming above a viewer at over 14ft. As contemporary studies of the femal e form\, these women would not have existed in the mid-twentieth century prior to the sexual revolution of the 1960s when artists began to recons ider the body as a politicized terr ain and explored issues of gender\, identity\, and sexuality manifest in ph otographers such as Diane Arbus\, R obert Mapplethorpe\, Larry Clark\, Hannah Wilke\, Nan Goldin and Cynthia MacAdams.

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In Bayer’s new series\, we see an ongoing biological and sociological evolution. Posed frontally and exposed\, they might be perceived as vulnerable on a smaller scale\, however the straight gaze and the enlarged scale creates an intimation of a nearapproaching new race of super women quietly waiting in the wings. A viewer is surrounded by these unadorn ed figures\, provoking possible intimidation in their directness\, uncompromised by faux modesty. Women have c hanged\, transformed and advanced s ince Artemisia Gentileschi’s confrontation with the male gaze.

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Bayer doe s not objectify his models in a way that Herb Ritts “saw parts of the body’ s surface in precisionist terms\, o ften adding mud\, skin paint\, sand\, and other materials to sensually emphasize the follicles and pores of th e epidermis\,”1 verging on scopophilic fixation with the exaggeratedly buff gym-engineered body.

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Yves St. Laurent\, always attracted to the androgynous and strong woman and the firs t couturier to use black models in 1962 has said: “I always found my style through women. That’s what makes my vitality and strength: I lean on a woman’s body\, on the way she move s… the way she stands.”2 Sculptor Robert Graham has consistently used this agile\, frontally posed female form and in the mid 1980s created monumental sculptures of which. He produced a giant nude\, twice human size in 1 984. Helmut Newton photographed a p ortrait of Graham with his giant nude\; while Newton began his nude studies relatively late in career in 1980 saying “Women are much stronger tha n men – in every possible way. I truly believe that. I’m a big admirer of w omen.”3 As religious symbolism and reference has become irrelevant to contemporary consumer society\, the female form evokes millennia of pre-pat riarchal goddess worship\, the arch etype of Venus or Isis\, transcending religions. American photographer Cynthia MacAdams pioneered and defined the ‘goddess movement’ in Emergence the new woman on her own terms in photography from the 1970 and 1 980s – with
fiercely independe nt women role models – portraiture and nudes including Jane Fonda\, Kate Millett\, Gloria Steinem\, Laurie And erson\, and Patty Smith. In contrast to Helmut Newton’s fetishism\, the subject of gender in society was drama tically changing\; Bruce Weber was to evolve a new masculinity and homoeroticism in commercial photography. Newton and subsequently Bayer\, visua lize women as they are today\; wome n who take the lead and have presence\, who take pride in “the resplendence and vitality of their bodies\, bod ies over which they themselves have sole command”4\; the liberated woman full of health and vigor - fit\, capa ble and strong.

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Bayer’s women a re in no need of props\, backdrops\, adornment and decoration. Fashion becomes fast obsolete while the nude tr anscends time. Commercial and fashi on photography are intrinsically coercive\, propelling sales of magazines a nd products. As commissioned work i mposes restrictions\, the parameters of a creative eye with a progressive view are challenged in creating imag es of society and of the role that women play in it. Bayer’s nude portraits in this exhibition are not reliant on using the powers of seduction a nd the desires they awaken – the subliminal attraction of fashion and image -making. Unlike Newton\, Bayer’s nudes are devoid of glamorous trappings.

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Bayer’s intimidating\, larger tha n life women echo a theme which emerged since the late 1970s – of portraying emancipated women for the first t ime in history able to control thei r own sexuality – which had hitherto been inseparably bound up with motherhood. As the taboos of Judaeo-Christ ian morality collapsed\, a celebration of the human body has reconnected to the glorious nudes of antiquity. A n interplay of genres as nude photo graph can be fashion and/or art and vice versa became the norm of particularly West Coast photographers – embo died in Herb Ritts or specifically Robert Mapplethorpe’s first female body builder Lisa Lions. The new muscula r females contrast Bruce Weber’s pa ssive males\, seemingly available\, which in the early 80s raised controversy about sexual empowerment and wha t defined masculinity in the
l ate twentieth century. Quarter of a century later\, a new generation of wom en have a birth right of independen ce and self-determination unknown to previous generations\, to rebuke objectification. As Helmet Newton envisa ged in A World Without Men – jettis oning the sexist status quo\, uncompromising\; – is this the next evolution ary step for a new world order? Whi le various artists and writers chart collective cultural and evolutionary decline\, Bayer and other artists an d photographers give us an evolutio nary snap-shot of positive strength and evolution of the human race where < /span>strength and beauty can be found in self- confidence and self-determination\, regardless of ethnicity or background\, while beauty resides with eq ual potency in both genders\, and g ender itself is mutable. Here we might also see the marked cultural differe nce of American women’s grooming – gym-buff\, articulated muscularity and hairless bodies.

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As with Herb Rit ts\, Bayer’s commercials and music videos evidence the cross-over’s and cross-pollination intrinsic to LA cult ure at its most influential – hybridizing music world talent\, celebrity\, style\, body beautiful – aesthetic and image-making unique to LA.

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R eminiscent of Helmut Newton’s celebrated series Big Nudes and Sie Kommen (1981\, Naked a nd Dressed)\, the scale of each distinctive young woman defies potenti al objectification\; looking unequi vocally\, directly into the camera lens and by extension boldly confronting a viewer. There is little chance f or voyeurism. They are unified desp ite their differences\, in their hairless bodies – clearly stating their se x. A new generation of women\, asse rtively full-frontal posture in a stance undermining the traditional pose of the female nude in an averted gaz e (insinuating modesty yet aware of being object of a male gaze). Autonomous and independent\, they also stand in the unified solidarity of an Am azonian tribe\, or future superwomen\, aware of their potent presence and sure future. The Western world has m aintained the nude as a fetishistic subject beyond being an aesthetic object\, and since the 20th century\, ha s been increasingly commercialized in selling products and merchandise\, not to mention the underbelly of Los Angeles in its vulgar porn industry . In cultures across the world\, the body is both sacred\, ritualistic\, a container of spiritual energy and t he embodiment of divine creation\, linking humans to the Divine. Controversial\, female and male nude < span style="font-size: small\;">depictions in photography have provoked imp assioned discussion about sin\, sexuality\, cultural identity\, and canons of beauty\, especially when the med ium is photography\, with its inher ent accuracy and specificity\, as the Metropolitan Museum of Art articulated in the recent 2012 exhibition History of the Nude in Photography in Naked before the Camera.

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Drawing on both a history of sculptural nudes in the classical tradition\, and with his camera\, simultaneously contemporizing this traditi on\, Bayer’s work can be seen in the context within the history of portrait photographers. In the early 20th c entury\, Alfred Stieglitz and his g allery 291 Gallery introduced the medium of photography as fine art to the public\, with Eugène Atget as anoth er early role model. Soon Man Ray vastly expanded the possibilities of photography\, not merely with his comme rcial work as a portrait and fashio n photographer\, but with experimental techniques. With portraits of the cultural luminaries of his day from V irginia Woolf\, James Joyce\, Gertrude Stein\, to his close friends Picasso and Max Ernst\, Man Ray’s influenc e could be reflected in a sense\, i n the contemporary image-making of Samuel Bayer. Both cross-pollinating photography and film between artistic and commercial realms\, and in our contemporary media-saturated landscape\, Bayer’s widespread and profound in fluence in pop culture from directi ng breakthrough independent rock music videos.

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While the nude as subject is timeless\, does Bayer challenge stereotypes of beauty and obsession with youth? While fashion magazines an d Hollywood continue to perpetuate and typecast the young and thin\, perhaps with these representations of young women confident in their bodies (noticeably without silicon-implanted breasts) provides an antidote to the vulgarity of pornography and the ex plicit images that bombard us relen tlessly. From the plastic surgeried\, talentless bimbos of reality < span style="font-size: small\;">television to whom privacy and silence are alien\; to billboards for the paradoxically titled “gentleman’s clubs” to the back pages of the local newspape r sporting cheap prostitutes\; imag es of over-sexualized vixens have become so prevalent as to become < span style="font-size: small\;">the tawdry norm. This series of nudes by Sa muel Bayer addresses all these histories and aesthetics with a savvy and profound insight into image-making an d presents his alternative view.

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Samuel Bayer was born in upstate New York in 1965 and grew up in Syracuse\ , New York. He graduated from New Y ork City’s School of Visual Arts in 1987 with a degree in Fine Arts. At the age of 26\, Bayer set out to Los A ngeles to begin his career as a mus ic video director and he went on to direct over 200 music videos with the l ikes of The Rolling Stones\, Greend ay\, John Lee Hooker\, Marilyn Manson\, Metallica\, Smashing Pumpkins\, David Bowie\, Aerosmith\, and Lenny Kr avitz. Bayer won an Emmy for the 20 11 Super Bowl commercial for Chrysler\, Born of Fire featuring Eminem\; Bay er’s commercials are represented in the permanent film/video collection at the Museum of Modern Art in New York City.

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1 James Crump\, “Collecting History: Herb Ritt s’s Male Nudes\,” in Paul Martineau\, Herb
Ritts: L.A. St yle\, J. Paul Getty Museum\, Los Angeles / Getty Publications\, 2012\, p. 16
2 Yves Saint Laurent: His Life and Times\, film by Dav id Teboul\, Empire Pictures\, 2002
3 Helmut Newton interviewed by Caro l Squiers\, Helmut Newton Portraits\, Schirmer/Mosel\,
Munich \, 1993\, p. 11
4 Françoise Marquet\, Helmet Newton: Work\, T aschen\, 2000\, p. 13

DTEND:20130427 DTSTAMP:20140919T053848 DTSTART:20130303 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:Diptychs & Triptychs\, Samuel Bayer UID:262555 END:VEVENT BEGIN:VEVENT DTEND:20130303T180000 DTSTAMP:20140919T053848 DTSTART:20130303T140000 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:Diptychs & Triptychs\, Samuel Bayer UID:262556 END:VEVENT BEGIN:VEVENT DESCRIPTION:

There are certain artists who grip the subconscious and dive into tempor alities of the forgotten\, touching upon the cornerstones of human memory a nd being. Charles Fine is one such artist. He works human  consciousness in a way that connects the corporeal thinking organism with the intimacies of what might be called earth consciousness. Fine attends to the natural worl d and ancientness in ways that are both thought provoking and transcendent. With an oeuvre that is diverse and far-reaching Fine addresses themes of e nvironment\, time\, memory\, encounter\, discovery\, decay\, and evolution. His art is ever evolving as he works with a variety of media and objects t o inspire questions concerning existence and impermanence. While the artist deals with powerful themes\, he does so with varying intensity. Rather tha n privileging a direct and aggressive style\, Fine layers\, composes\, and builds as he illuminates subtle changes and quiet progression.

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ACE Galle ry presents a thirty-year survey of work by Charles Fine\,  including drawi ngs\, paintings\, sculptures\, photographs\, and video which explore and ex pand upon the intricacies of the natural world and the effects of human hab itation. Fine investigates the interconnectedness of living systems with pa rticular attention given to subjects ranging from population densities\, mu tations in nature\, irrigation patterning\, photosynthesis\, and the effect s of weather and climate.

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From his explorations in Central America\, Mex ico\, and the western United States\, Fine has amassed and continues to cul tivate an unusual assemblage of objects\, which have been\, and continue to be\, a significant source bank for much of the imagery in his paintings\, sculptures\, photographs\, and vitrines.

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The artist has gathered mutant pod seeds\, ceremonial stone objects\, bone implements\, and ancient tools amongst numerous other exotic and prosaic natural items from his travels an d has transformed these earthly substances into breathtaking works of art. For his Table of Contents series Fine meticulously assembles an asso rtment of naturally found and re-altered objects into large glass vitrines. Each of these objects were selected by Fine because he felt they possessed an individual poignancy\, attained either through nature or through necess ity for practical or liturgical applications.

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Fine’s heterogeneous group ings are works of art in themselves transforming familiar natural objects i nto spiritually charged symbols with rich narratives.

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From this fascinat ing reservoir of imagery and inspiration\, Fine has created complex metaphy sical works of art that are often imbued with animistic or totemic associat ions. The artist’s approach to painting and sculpture is just as dynamic as the roots of his inspiration. His canvases are reworked over extended peri ods of time and are composed of translucent layers of oil paint\, alkyd res in\, and asphaltum. The layered effects of the paint engender a sense that the underlying forms are always in flux—materializing or dematerializing on the surface of the canvas. His panel paintings employ a dramatically diffe rent method indicated by his use of encaustic painting\, which give them a fertile tactile quality. Fine’s cast bronze sculptures trace their origins both to shapes extracted from the paintings and to his extensive gathering of archaeological relics and found objects.

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Moving sinuously from the mi cro to the macro and back\, the artworks in Charles Fine’s in-depth survey offer a dynamic look into the artist’s distinctive cloistered sphere of cur iosity and experimentation.

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Charles Fine was born in 1951. He attended t he Otis Art Institute\, California State University\, the Brooks Institute of Art\, and the University of California. The artist has exhibited at ACE Gallery since 1987.

DTEND:20130427 DTSTAMP:20140919T053848 DTSTART:20121026 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:A Thirty-Year Survey Of Drawings\, Paintings\, Sculptures\, Photogr aphs\, and Video\, Charles Fine UID:234520 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present Work/Space\, a group exhibition of recent work by artists Phillip Es tlund\, Kirsten Kindler\, and Katie Sinnott. Thes e three artists are strongly influenced by architecture and the use found m aterials are inherent in their art making.

Phillip Estlund's works often reference architectural st ructures and landscape. He constructs his sculptures using the architectura l ruins that remain after the devastation of natural or man-made disasters. Living in South Florida\, Estlund has had first-hand experience of the dev astation caused by hurricanes and other man-made accidents. By presenting t he detritus that remains from destruction and transforming it\, Estlund not only expresses the physicality and fragility of mankind's pursuits\, but a lso our ability to rebuild. 

Kirsten Kindler builds intricate cut paper constructions that seem to teeter between order and chaos. Kindler searches through magazines and coll ects images of architectural details. She then precisely cuts and extracts the architectural elements to build delicate structures that are both harmo nious and contradictory. There is a visual harmony and symmetry in the over all arrangement that has a beautiful lace-like quality. At the same time\, the structure created is an improbable space as stairwells lead into more s tairwells\, arches and columns rest upon more arches and columns. By amassi ng numerous images of architectural objects to create a large but vulnerabl e structure\, Kindler's airy architecture becomes a thoughtful reflection o n the emptiness and fragility of our material culture.

For Katie Sinnott\, the architectural space is her canvas. Sinnott's work is motivated by a desire to step inside of a painting or drawing\, and to truly engage with the painting and space. In a daily practice\, she alters the space by adding or removing paint\, drywal l\, plywood\, light\, and other materials around the space in an attempt to bring it close to a balancing point. The space becomes a document of her c ontinual process\, and the viewer becomes engaged in deciphering where the room ends and the painting begins.

DTEND:20130316 DTSTAMP:20140919T053848 DTSTART:20130216 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Work / Space \, Phillip Estlund\, kirsten kindler\, Katie Sinnott UID:257532 END:VEVENT BEGIN:VEVENT DTEND:20130216T200000 DTSTAMP:20140919T053848 DTSTART:20130216T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Work / Space \, Phillip Estlund\, kirsten kindler\, Katie Sinnott UID:257533 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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DTEND:20130428 DTSTAMP:20140919T053848 DTSTART:20130308 GEO:34.168199;-118.185874 LOCATION:Alyce de Roulet Williamson Gallery\,Art Center College of Design 1 700 Lida St.\nPasadena\, CA 91103 SEQUENCE:0 SUMMARY:M/M (Paris) 'M/Manifestation' UID:262557 END:VEVENT BEGIN:VEVENT DTEND:20130307T223000 DTSTAMP:20140919T053848 DTSTART:20130307T203000 GEO:34.168199;-118.185874 LOCATION:Alyce de Roulet Williamson Gallery\,Art Center College of Design 1 700 Lida St.\nPasadena\, CA 91103 SEQUENCE:0 SUMMARY:M/M (Paris) 'M/Manifestation' UID:262558 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130330 DTSTAMP:20140919T053848 DTSTART:20130302 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:New Works\, Karen Sargsyan\, Grant Barnhart\, Ron van der Ende\, Je ffry Mitchell\, Abigail Reynolds UID:262267 END:VEVENT BEGIN:VEVENT DTEND:20130302T200000 DTSTAMP:20140919T053848 DTSTART:20130302T180000 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:New Works\, Grant Barnhart\, Jeffry Mitchell\, Abigail Reynolds\, K aren Sargsyan\, Ron van der Ende UID:262268 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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I ♥ Lucie
Valent ine’s Day with Lucie Fontaine\, Anat Ebgi\, and Various Small Fires Opening Reception Valentine’s Day\, February 14\, from 6-8PM

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Anat Ebgi and Esther Kim Varet have invited Lucie Fontaine to present a solo show to be split between their two Los Angeles galleries. Lucie Fontaine has conce ived a series of artworks\, each comprised of two parts\, which will be div ided between the two spaces: half of each piece will be shown at Anat Ebgi\ , and the other half will be shown at Various Small Fires.

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< span style="font-size: small\; font-family: 'courier new'\, courier\;">By s plitting and doubling the exhibition\, Lucie Fontaine seeks to merge notion s of form with those of format\, acknowledging that the creation of feeling s\, ideas\, objects\, images\, information and knowledge cannot be understo od apart from the channels through which these forms are distributed—from c onception to presentation to promotion of an exhibition\, for example. Luci e Fontaine embraces those channels by freely mixing and matching “split” co ncepts belonging to disparate realms of the history of humankind\, includin g: 1. Hegel’s Master-Slave dialectic presented in his Phenomenology of Spir it\; 2. The diptych in art history\; 3. Symbiosis in biology\; 4. The Chine se “One Divides into Two” [一分为二] controversy of 1964 between philosophers a nd Maoists\; 5. Labor divisions between art employer and art employee\, dea ler and artist\, artist and curator\, dealer and collector and so on.

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For this project\, Lucie Fontaine puts love at the center of her cer ebral promiscuity. For Lucie Fontaine\, love in all of its manifestations—l ove for your partner\, love for yourself\, love for God\, love for what we do\, love as friendship—transforms\, making the singular into pluralities o f streams of pleasure. Yet love’s authenticity inevitably comes laced with a sense of irony\, which Lucie Fontaine fully embraces by opening her exhib ition on Valentine’s Day\, the day love becomes capital. Today\, all that i s immaterial\, even love itself\, has been transmuted into commodities\, wh ich is no news considering the sale of indulgences by the Catholic Church. The capitalization of feelings\, and the capitalization of love\, may be th e clearest visualization of a reality where the opposition between what is material (stuff) and what is immaterial (feelings) no longer makes sense.

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Lucie Fontaine lives and works in Colmar\, France\, from which s he willingly distributes her signature\, authorship\, creativity\, and labo r through many avenues: art making\, exhibition organizing\, art collecting \, writing\, and editing\, to mention those she already tried. To learn mor e about her activities in Milan\, where her space is located\, and elsewher e\, please visit her website at www.luciefontaine.com or email her employee s.

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For more information about “I ♥ Lucie” please email anat@ana tebgi.com.
Anat Ebgi is now located at 2660 La Cienega Boulevard\ , Los Angeles\, CA 90034. 

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\n DTEND:20130316 DTSTAMP:20140919T053848 DTSTART:20130214 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:I ♥ Lucie\, Lucie Fontaine UID:260180 END:VEVENT BEGIN:VEVENT DTEND:20130214T200000 DTSTAMP:20140919T053848 DTSTART:20130214T180000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:I ♥ Lucie\, Lucie Fontaine UID:260181 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Angels Gate Cultural Center presents our exhibition year entitled \; Into the Wilderness: The Journey Within. Over the course of the ne xt year\, artists and curators will engage the term "wilderness" from multi ple perspectives ranging from ecological to introspective. The exhibitions consider how our ideas of wilderness continue to define our contemporary li fe and contemplate how we can find new opportunities to re/define the trans ition between physical and imaginary geographies.

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Although\, on first im pression\, "wilderness" may call to mind places of intense experience in na ture far from civilization\, it reveals itself to be much more than a locat ion. Traditionally associated with a land of uncultivated\, abandoned and i nhospitable conditions or inhabited only by wild animals\,1  \;during the eighteenth and nineteenth centuries its meaning expanded subje ctively to include more Romantic and transcendental notions like "the refle ction of our own unexamined longings and desires" and "the best antidote to our human selves\," while mysteriously remaining the site of "something pr ofoundly Other."2 \;

Whether places considered wilderness are ultimately to be regar ded as wastelands or sacred spaces\, in either case it is not the places th emselves that define the nature of the wilderness experience. "Wilderness\, " regardless of where it is situated or whether it is described as frighten ing or divine\, is a cultural construct that is typically placed in opposit ion to "civilization\," located apart from the human world as something pur e and essentially natural\, to be preserved and protected both from the out rages of global industrial exploitation as well as the small defilements of daily life. \;

We d isagree. We consider that creating even the most high-minded dualism betwee n humans and nature sets up a dynamic that creates conflict and does not le ad to effective stewardship of the environment\, either locally or on a glo bal scale. We also believe that rather than being defined either as a physi cal or an imaginary location\, "wilderness" is more a state of mind that de fies location\, either geographical or imaginary-one in which social struct ure relaxes\, logic slips away and time and space collapse. This open state of mind\, or "wonder\," can be experienced in natural environments that in spire fear\, disorientation\, foreboding or other qualities of "sublime" la ndscape appreciated by the likes of Edmund Burke3-and it can als o unexpectedly arise in the midst of degraded urban grittiness or in an une xplored corner of a superficially unremarkable backyard. \;

Artists in our group discover natur al wonder in many places-from Antarctic icebergs to carcasses of dead birds . And just as we respect "wilderness" in all of its manifestations\, we bel ieve that biodiversity and sustainability can only be maintained if we huma ns give up trying to isolate "unspoiled" nature and instead seek a complete relationship with the natural world that includes responsibility and respe ct for the global interface of ecosystems\, be they planetary or microscopi c\, that we unavoidably impact. \;

Wilderness Mind: Dissolving Duality includes the work of fou rteen artists from the Southern California Women's Caucus for Art's Eco-Art Collective. As a group we embrace collaboration\; we have worked together to study and work as eco-artists since 2005. This proposed exhibition repre sents work that ranges from photography to non-representational painting\, performance\, and installation\; it spans a continuum of references to wate r from suburban irrigation systems to the arctic ice cap\; to wildlife\, in cluding Barr owls\, sea otters\, and golden trout from the Sierras\; and to locations from San Pedro Harbor to Mozambique. Within the frame of wildern ess\, the group's work articulates themes of degradation and emergence\, na tural cycles\, mystery\, concern for the environment\, and connected onenes s. We hope that the artistic diversity and interrelatedness of our work for this exhibition will give visitors an experience of our collaborative appr oach as an alternative to more traditional strategies of agency through dom ination\, and to the possibility for everyone to experience "wilderness" in any number of settings\, not just in uninhabited nature. Through the visua l messages communicated in our work as well as through workshops and progra ms offered to the community in conjunction with the exhibition\, our ultima te goal is to inspire visitors to participate in effective stewardship of t he environment. \;

< small>1 \;New Oxford American Dictionary\, Oxford University Press\, third edition. \;
2 \;Cronon\, William\, " The Trouble with Wilderness\; or\, Getting Back to the Wrong Nature\," Unco mmon Ground: Rethinking the Human Place in Nature\, New York: W.W. Norton & amp\; Co.\, 1995\, 69-90. \;
3 \;Burke\, Edmund\, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beau tiful\, 1857. \;


Deborah Thomas is an artist\, professor and independent curator wh o lives in Los Angeles\; she has also lived and worked as an artist in Gene va\, Switzerland and New York. With an undergraduate degree from the Univer sity of Michigan and an MA and ABD from the University of Pennsylvania\, Th omas currently teaches art history and contemporary art and theory at Pasad ena City College\, Glendale College and the Los Angeles Academy of Figurati ve Art. She is a longtime member of the Eco-Art Collective sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA) and one of the chairs of the Women's Caucus for Art (WCA) national Eco-art Caucus\; she also helped to organize "Elements\," an eco-art conference produced by the Pacific Region WCA chapters last year in Berkeley. Thomas' recent artw ork includes a series of conceptual installations and mixed media pieces us ing photographic images and found text\; her work on environmental themes t ypically explores place and the environment metaphorically and builds from a personal point of view using domestic objects. She has also developed and curated several recent exhibitions: Day of the Dead Planet\, Bringing the Past to Light: New Art from Old Images\, Intimate Geography: \;< br />
The Eco-Art Collective is a Los Angeles-based group of fourteen women artists that uses art to explore the many connections between creative and environmental practices through exhi bitions\, educational programs and public actions. The group was first orga nized in 2005 by artist/eco-activist Linda Lundell and is sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA)\, a natio nal organization dedicated to creating community through art\, education an d social activism. In April 2007\, they mounted their inaugural exhibition at Barnsdall Art Park in Los Angeles. Members subsequently showed together at the 2010 Blue Planet exhibition juried by Kim Abeles at SOMArts in San F rancisco and at the Day of the Dead Planet exhibition curated by Deborah Th omas at Avenue 50 Studio in Los Angeles. Individual members have exhibited their environmental work in Chicago\, Los Angeles\, New York\, San Francisc o and throughout the rest of the United as well as Asia and Europe. The col lective also engages the community through lectures\, installations and eve nts. Expedition artists Danielle Eubank and J. J. L'Heureux have lectured a t zoos and natural history museums across the country. San Pedro-based arti sts Annemarie Rawlinson and Hiroko Momii often intermix their meditative an d activist practices.

DTEND:20130817 DTSTAMP:20140919T053848 DTSTART:20120520 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Wilderness Mind: Dissolving Duality\, Carolyn Applegate\, Nicole An tebi\, Dori Atlantis\, Ulla Barr\, Marie Cenkner\, Danielle Eubank\, Ann Is olde\, Nancy Lissaman\, Meg Madison\, Hiroko Momii\, MaryLinda Moss\, Sandr a Mueller\, Annemarie Rawlinson\, Deborah Thomas\, France White\, Karen Fri mkess Wolff\, JEN ZEN (aka Jen Grey\, J.J.L'Heureux UID:218364 END:VEVENT BEGIN:VEVENT DTEND:20120520T170000 DTSTAMP:20140919T053848 DTSTART:20120520T120000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Wilderness Mind: Dissolving Duality\, Nicole Antebi\, Carolyn Apple gate\, Dori Atlantis\, Ulla Barr\, Marie Cenkner\, Danielle Eubank\, Karen Frimkess Wolff\, JEN ZEN (aka Jen Grey\, Ann Isolde\, J.J.L'Heureux\, Nancy Lissaman\, Meg Madison\, Hiroko Momii\, MaryLinda Moss\, Sandra Mueller\, Annemarie Rawlinson\, Deborah Thomas\, France White UID:218365 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In Los Angeles\, where non-native fauna\, golf courses\, and man-made lakes collide with a desert\, mountains and sea\, what is a natur al landscape? What is escape\, when surrounded by the fabricated artificial ? 

In a gesture that considers the methodologies of contemporary art\, theme restaurants\, parks\, and interior design\, Los Angeles Nat ional Forest is comprised of a 7' x 7' x 7' room with a 3' x 5' entrywa y into a planned wilderness. The greens of a lush copse are represented by gelled lighting and printed leaves\; wood is presented in the form of build ing materials\, natural to a point but treated as a commodity\; a naturalis t's escape to a Southern California beach is alluded to by a perpendicularl y-flipped fast food restaurant motif.

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I am interested in c reating art that can be at once analytical and illogical\, grounded in the mundane while walking the path of the sublime. My aim is to create pleasura bly disorienting reflections of a metaphoric modern world\, where one achie ves estrangement from everyday experience and all meaning is reached throug h indirect means\, individual thought processes. Constructing all encompass ing\, unfamiliar spatial experiences is a method in my work to expand upon the theories and lessons of post-modern conceptual art and to question its failures. I like to think of my practice as a slippage between crafstman an d trickster\, investigating the uncanny\, transforming medium\, space\, and perception.  

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 Keith Rocka Knittel holds an MFA from the Califo rnia Institute of the Arts (CalArts) and a BFA from the Maryland Institute\ , College of Art (M.I.C.A). He is currently a staff member at the USC Roski School of Fine Arts\, and the founding director of OCEAN (westofcalifornia .org).  He lives and works in San Pedro\, California.

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DTEND:20130419 DTSTAMP:20140919T053848 DTSTART:20130127 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Los Angeles National Forest\, Keith Rocka Knittel UID:250036 END:VEVENT BEGIN:VEVENT DTEND:20130127T150000 DTSTAMP:20140919T053848 DTSTART:20130127T130000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Los Angeles National Forest\, Keith Rocka Knittel UID:250037 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Searchin' is an exhibition that considers contemporar y\, critical engagements with the theoretical sublime. Inspired by 70s Cali fornian conceptual artist Bas Jan Ader's project\, In Search of the Mira culous\, the contemporary artists whose work makes up this exhibition r e-examine his quest for the sublime and through it\, launch their own journ eys into the wilderness. 

Emmanuel Kant's definition of and writ ings on the sublime in his Critique of Pure Reason (1790)\, created a methodology for humanknowledge of the limits of our imagination. While ne ver equated with nature\, the unfathomable expanse of the ocean or seemingl y unconquerable mountain peaks became signifiers\, even metaphors for the u n-representable sublime. 

In the nineteenth century\, appreciati on for nature and the wilderness was caused in part by the industrial revol ution and westward expansion's threats to its very existence. As the mechan ical revolution gained steam\, the power of man defined human existence\, w e continually sought the attainment of something greater that could\, by de finition not be constructed\, controlled\, or even defined. 

Ade r was deeply aware of the relationship that we have to romantic ideas like the sublime. His series of photographs\, In Search of the Miraculous (On e Night in Los Angeles) (1973) records his pedestrian nocturnal journey through the city as he traversed from Hollywood to the Pacific. The images of Ader\, alone in a city of millions\, his shadowy figure juxtaposed agai nst the vast urban lights\, and\,perhaps most eloquently\, the artist's fat al disappearance at sea in 1975\, simultaneously maintain a persistence of these seemingly timeless concepts with a postmodern criticality of their ex istence. 

The artists of Searchin' continue Bas Jan Ader' s quest for the sublime. By partaking on his romantic journey in the contex t of 70s Los Angeles\, Ader permitted contemporary artists to engage in\, a s opposed to automatically dismiss\, historically modernist notions. They l ook for the meaning inherent in their own existence\, in the city in which they live\, and the vastness of the unknown that defines it and them. Some follow Ader's footsteps\, or re-trace his paths\, not in an illusionary att empt to succeed where he failed but as a process\, a re-visitation of a myt h of which the original artist is now a part. They enact Ader's quest throu gh their own searches\, deconstructing his process and discovering the trut hs still inherent in his search for the miraculous. Others discover new sit es within the Los Angeles that beckon something greater\, moments that simu ltaneously capture the city and transcend it. Alternative signifiers of the sublime are broached\, its foreboding\, danger and at times tragedy are at brought to the fore\, even as the everyday is considered as an equally lik ely subject for such a dialogue. The artists of Searchin' look for t he meaning inherent in their own existence\, in the city in which they live and the vastness of the unknown that defines it and them. They stand on a cliff at the edge of a wilderness and consider whether or not to leap. 

BIOGRAPHY 

Mary Coyne is an emerging curator from the Los Angeles area. She is interested in the intersections between contempor ary art\, theory and performance. Her curatorial goals are to create though tful juxtapositions in the ambition ofsparking a meaningful artistic dialog ue. Mary holds a Bachelor's degree in Art History with a minor in Italian f rom the University of Southern California. She is finishing her Master's pr ogram in Art History with an emphasis in Museum and Curatorial Studies at C alifornia State University\, Long Beach.

DTEND:20130419 DTSTAMP:20140919T053848 DTSTART:20130127 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Searchin': Los Angeles and the Quest for the Sublime\, Erika Yoeman s\, CODY TREPTE\, Mara De Luca\, Zoe Crocher\, Kevin Cooley\, Thomas Althei mer UID:250308 END:VEVENT BEGIN:VEVENT DTEND:20130127T150000 DTSTAMP:20140919T053848 DTSTART:20130127T130000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Searchin': Los Angeles and the Quest for the Sublime\, Thomas Althe imer\, Kevin Cooley\, Zoe Crocher\, Mara De Luca\, CODY TREPTE\, Erika Yoem ans UID:250309 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aran Cravey Gallery is pleased to present\, when we are at sea in the evidence\, a solo exhibition of dr awings by Tara Geer.

What does it mean to have a visual experience? ‘Seeing’ is no t a passive occurrence - to see an object or facial expression is an active experience.  It is at once an act of cognition and visual exposure\; we re cognize\, identify\, and conceptualize. For Tara Geer\, the act of drawing becomes a way to see the world\, and in her works\, deconstruction becomes a strategy to expose the comfort of recognition. Every instance of seeing i s manifested through the lens of our experiences\; to see is to make intent ional connections between what is in front of us now and instances in the p ast. Thus\, in her works a division takes place between our visual experien ce with the abstract flurry of charcoal\, chalk and pencils and the title\, implicating what the viewer observes on the paper is a documentation of so mething found in the tactile realm.

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The twelve works exhibited for this show materialize through the medium of drawing\; chalk\, charcoal\, pastels \, pencils and erasers on paper. There has been a notable return to abstrac tion in painting\; these works attempt to negotiate the practice of paintin g itself rather than the experience of a painting itself. Geer’s resolution in limiting her palette through the use of drawing materials allow the wor ks to disembark from a discussion on abstraction as it is expressed in pain ting. Despite being abstract\, the viewer does not have a purely optical ex perience with the works. Through our struggle for recognition we are pushed to reflect on our own engagement with visuality in the day to day.< /p>\n

 As a drawing instructor\, Geer’s philosophy on how one learns to draw is inter twined with her idea of seeing. Geer explains\, “The hardest thing about dr awing is nothing technical in your hand\; the hardest thing about drawing i s looking.” It follows that interacting with Geer’s drawings is itself a vi sual exercise. We question the process with which we recognize things\, wha t happens when we look at a recognizable object for an extended period of t ime\, until the individual aspects which made the object whole and percepti ble fall apart into their own visual entities. What happens here is curious \; words become a useless descriptive tool.


Tara Geer (b.1970) was born in B oston\, Massachusetts and received her BA from Columbia University with a d ouble major in Art and Art History\, graduating Magna Cum Laude &\; Phi Beta Kappa\, as well as an MFA with a teaching fellowship from Columbia Uni versity School of the Arts. She received the Loius Sudler Prize for excelle nce in the Arts and the Joan Sovern prize.  Currently\, she is an Adjunct A ssistant Professor in the Department of Visual Arts at Columbia and in Art &\; Art education at Teachers College. Geer also trains teachers and sta ff in Visual Thinking Strategies at the Brooklyn Museum\, El Museo \, and the Joan Mitchell Foundation among others.  She has worked at WNYC\, the NY public radio station\, writing and producing culture pieces for  “M orning Edition\,” “Studio 360\,” Leonard Lopate and other national radio sh ows.  Her work has been covered in publications such as the New York Times and has been included in exhibitions and collections throughout the US and France.  

DTEND:20130331 DTSTAMP:20140919T053848 DTSTART:20130126 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:when we are at sea in the evidence\, Tara Geer UID:255592 END:VEVENT BEGIN:VEVENT DTEND:20130126T200000 DTSTAMP:20140919T053848 DTSTART:20130126T180000 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:when we are at sea in the evidence\, Tara Geer UID:255593 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Armory Center for the Arts presents a temporary\, site- specific installation by Los Angeles-based artist Nate Page in its central stairwell through June 2013. 

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Page’s newest work\, enti tled Instituted Angles of Path and Display\, challenges the ultra- functional design of the Armory’s main stairwell. Page has removed one of t he stairwell’s two large metal handrails\, turned it 90 degrees\, and mount ed it in the middle of the space on a pedestal-like structure that follows the crooked trajectory of the stairs and the landing. This simple gesture b oth highlights and alters the existing framework and prescriptive design of the space\, which remains fully functional although visually distorted. Ce ntral to Page’s practice is an interest in engaging elements of perceived a nd given space in built environments\, often through objects dismissed as p eripheral or incidental.

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Page acknowledges that railings generally can s erve two functions: one for handrail support\, and the other as a boundary. By turning a railing on its side and using it to bisect the Armory stairwe ll\, Page shifts our point of view what a handrail is for. Page has created a topography of the climber's passage and an opportunity for visitors to b ecome aware of their physical and psychological relationships to the archit ecture by negotiating passage (stair) vs. path (boundary railing). Familiar visual and spatial rhythms are interrupted\, inviting the viewer to recons ider the function of the space – and possibly\, the artist hopes\, to find more potential than what it is programmed for.

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Nate Page lives in Los Angeles.  His work has been seen at Lothringer Dreizehn Spac e for Contemporary Art in Munich\, Hotel Pupik in Schrattenberg Austria\, W arsaw Academy of the Arts\, Warsaw\, John Michael Kohler Center for the Art s in Sheboygan\, WI\, No Name Exhibitions @ The Soap Factory\, Minneapolis\ , and at Cooper Union and Jen Bekman Gallery\, both in New York. Page has p roduced many environments with Machine Project in Los Angeles including A F ield Guide to LACMA at Los Angeles County Museum of Art and has shown natio nally including Woodbury University Hollywood Gallery\, Institute of Visual Arts at University of Wisconsin-Milwaukee\, and Otis College of Art and De sign in Los Angeles. From 2001-2004\, Page co-directed an experimental arti st collaborative and exhibition space in Milwaukee called the Rust Spot. He received a MFA from the California Institute of the Arts and a BFA from Mi lwaukee Institute of Art and Design and attended the Warsaw Academy of Art in Warsaw\, Hotel Pupik in Schrattenberg Austria\, and the New York Studio Program and the Summer Residency at The Cooper Union\, both in New York Cit y.

DTEND:20130630 DTSTAMP:20140919T053848 DTSTART:20120708 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Instituted Angles of Path and Display\, Nate Page UID:234944 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Over the past two decades\, Connie Samaras has used photo graphy and video to represent particular built environments she characteriz es as “speculative landscapes” against the backdrop of daily life. She expl ores the aspirations and anxieties of the imagined future – how the US drea ms itself – along with the psychological and social dislocation within the everyday.

Samaras reveals the paradoxes of these surreal envir onments – vast\, impersonal constructions such as the cities of Las Vegas a nd Dubai and the remote\, scientific colonies of the South Pole or Spacepor t America\, an emerging corporate space launch facility in the remote deser t of New Mexico. Her objective is to unhinge the speculative from the norma tive and thus illuminate the multiple timelines and social possibilities – the rich subjectivity – in any given moment of daily life. Works from six c ompleted series will be presented – Angelic States-Event Sequence\, Aft er the American Century\, V.A.L.I.S. (Vast Action Living Intelligence Syste m)\, and Spaceport America – as well as works from the ongoin g series Surface Events. Collectively\, the works in Tales of Tomorrow address the social and economic construction of “future imagi naries” and the variable membrane between fiction and real world.

In addition to featuring works from the six series noted above\, this s urvey exhibition debuts Edge of Twilight\, new photography from th e first part of an expansive trilogy that launches a conceptual turn in Sam aras’ work. Historically the artist’s projects\, such as those shot in Duba i and South Pole\, depict the future imaginaries of global capitalism\, or how the future is held out as a singular p robability. Edge of Twilight looks at humble and everyday future i maginaries inflected by social change movements\, in which the future is se en as a series of shifting possibilities. Featuring photographs of homes in a women’s retirement RV park in the desert of the U.S. southwest\, Edg e of Twilight borrows from the genres of time travel and tourism liter ature as way to reconsider the intersecting complexity of marginalized\, cr oss-generational personal experience and political histories. The long expo sures of the photographs and the vapor light under which they were shot cre ate an enigmatic environment in which black skies and yellow RVs are punctu ated by the vivid colors of rainbow flags.

Tales of Tomorrow is the largest and most sign ificant exhibition of Connie Samaras’ work to date. The exhibition is accom panied by a full-color\, 108-page\, hard-cover catalogue edited and with an introduction by exhibition curator Irene Tsatsos and texts by Charlotte Co tton\, Lisa E. Bloom\, Juli Carson\, Ken Gonzalez-Day\, Alice Echols\, Kate Flint\, Julie Lazar\, Catherine Opie\, Kavita Philip\, Claire Phillips\, A nna Joy Springer\, Tyler Stallings\, Roberto Tejada\, and Matias Viegener. The catalogue was designed by Lorraine Wild of Green Dragon Office and is b eing distributed by D.A.P. The exhibition and publication have been support ed by The Andy Warhol Foundation for the Visual Arts and the Pasadena Art A lliance. In addition\, the artist received support from Creative Capital fo r the production of Edge of Twilight.

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About the Artist< br />Connie Samaras was born in Albuquerque\, New Mexico in 1950. She has exhibited for over twenty-five years\, mounting solo shows at venue s such as the California Museum of Photography\, the San Francisco Art Inst itute\, Detroit Art Institute\, School of the Museum of Fine Arts in Boston \, Los Angeles Contemporary Exhibitions\, and Franklin Furnace. A full prof essor at University of California/Irvine\, Samaras has received more than f our-dozen research and production grants from foundations such as the Calif ornia Community Foundation\, the National Science Foundation\, Anonymous Wa s A Woman\, Art Matters\, Banff\, and the National Endowment for the Arts. In addition to an extensive record of exhibitions and lectures\, Samaras ha s published feminist critiques of the culture wars in the late ‘80s/early ‘ 90s (New Art Examiner\, ArtForum\, New York Law Schoo l Review)\; edited texts on technology and the cultural production of death (Terminals)\; and written experimental fiction (Whitewal ls\, Central Park) and critical narrative (The Scholar an d the Feminist Online\, Remix: Santiago Bose).
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This exhibition and publication supported by The Andy Warhol Foundation for the Visual Arts and the Pasadena Art All iance. In addition\, the artist received support from Creative Capital for the production of the Edge of Twilight series.

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DTEND:20130623 DTSTAMP:20140919T053848 DTSTART:20130301 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Tales of Tomorrow \, Connie Samaras UID:253955 END:VEVENT BEGIN:VEVENT DTEND:20130302T210000 DTSTAMP:20140919T053848 DTSTART:20130302T190000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Tales of Tomorrow \, Connie Samaras UID:253956 END:VEVENT BEGIN:VEVENT DESCRIPTION:

February 28 through April 18 at Artspace Warehouse: 
Ab stract Urban Harmony

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New artworks by Swiss artist Edith Konrad\, Los Angeles artist Ron Piller \, New York artist Mary Corman\, and Los Angeles artist Brenda Holzke\, amo ng many others.

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Swiss artist Edith Konrad has studied in numerous m aster classes with artists from Germany and Italy. She paints in a variety of techniques in Switzerland and Italy-particularly acrylic on canvas\, col lage and mixed media. She has been represented at several art fairs includi ng Montreux\, Geneva\, Salzburg\, Rotterdam\, Marbella\, Porto Ceresio\, Lo s Angeles and Paris She won the 2009 Palm Art Award\, a Certificate of Exce llence for outstanding artistic quality and originality of the work. In 201 0 she exhibited at the Salon de la Culture at the Louvre in Paris\, France.

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It was not until recently that Los Angeles artist Ron Piller was a ble to realize his lifetime ambition of painting full time. Color and geome tric order/disorder are his main focus. Beginning each painting he seeks to create a subtle but visually engaging ground which serves as a foil to the next layers of geometric shapes - usually stripes\, squares or color spoke s - all contained within or challenging the penciled grid. He works with ac rylic paint on wood panels. Frequently he layers newsprint and advertising with glue and then sands it to create a background. He finishes his work wi th resin\, as it provides a window into the work and also reflects back the room and light in which it hangs.

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Brenda Holzke lives and works in Los Angeles. In 1985 she graduated from The Art Center College of Design w ith a BFA. Brenda's series of collage and mixed media wall art are applied to found board and layered with painted paper\, textiles\, found metal\, fi red clay and other inanimate objects. A continuous thread throughout her wo rk is the marriage between color\, pattern and texture.

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New York ar tist Mary Corman is intrigued by the seemingly mundane. There is an allurin g mystery to these strangely familiar\, yet distant environments. Her work speaks to uncertainty-the rise and fall of these once glimmering sites and those who inhabit them. They act as constant reminders of an unintended con sequence of disposable culture: the fragile aesthetic of an ephemeral\, tra nsitory built environment.

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This precariousness and unknown is trans lated in her work through altered geometry and unreal architecture. Mary's paintings become studies of flatness and depth\, growth and decline. Giving her work a luminous quality\, her abstract\, anonymous buildings are not t ied to any specific place. They feel like paper lanterns: tenuous\, weightl ess\, movable.

DTEND:20130418 DTSTAMP:20140919T053848 DTSTART:20130228 GEO:34.0760122;-118.3501977 LOCATION:Artspace Warehouse\,7358 Beverly Boulevard \nLos Angeles\, CA 9003 6 SEQUENCE:0 SUMMARY:Abstract Urban Harmony\, Mary Corman\, Edith Konrad\, Ron Piller\, Brenda Holzke UID:262481 END:VEVENT BEGIN:VEVENT DTEND:20130228T203000 DTSTAMP:20140919T053848 DTSTART:20130228T183000 GEO:34.0760122;-118.3501977 LOCATION:Artspace Warehouse\,7358 Beverly Boulevard \nLos Angeles\, CA 9003 6 SEQUENCE:0 SUMMARY:Abstract Urban Harmony\, Mary Corman\, Brenda Holzke\, Edith Konrad \, Ron Piller UID:262482 END:VEVENT END:VCALENDAR