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101/exhibit Los Angeles presents “Choice Cu ts: New Sculptural Works” (March 16 - April 6) by NY toy desi gner and sculptor Jason Freeny. Inspired by Pop art\, Jaso n Freeny exposes the inner workings of your favorite toys. No toy is safe f rom his steady knife. Jason deconstructs\, sculpts and meticulously brings his subjects back to anatomical health with playful precision. “Choice Cuts ” featuring Jason Freeny’s Pop inspired sculptures and limited edition post er opens to the public Saturday\, March 16 from 7—10 pm. The exhibition con tinues through April 6\, 2013.

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New York toy sculptor and designer Jason Freeny was awarded Clutter Magazine’s Break Through Artist of the Year in 2 011 for his tireless collection of pop-culture toys. In 2012\, Jason introd uced the Brain Cube\, a 3-dimensional puzzle game in the Rubik’s-style puzz le cube. Brain Cube is played by twisting the fleshy colored\, squishy feel ing cube around and around until you line up the folds of the brain on all six sides. Inventive\, creepy cool. Jason Freeny is a deep thinker and reim agines everything from mundane household items to iconic toys. Jason descri bes\, “I’m driven by the discovery of the interesting and grotesque skeleta l systems that these characters produce. I work in what I consider a “rever se forensics.” I take cues from the exterior forms of the characters that d ictates what the inner anatomy would look like. In a way\, I’m liberating w hats already inside. I like the anatomy to have a similar “toy like” feel a s the exterior\, colored in the same cartoonish fashion as the plastic toy. ”

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“Choice Cuts: New Sculptural Works” by Jason Freeny is the premiere ex hibition and first public display of his work shared with the public at 101 /exhibit in Los Angeles. Jason shares\, “I wanted to present some of my per sonal favorite characters from my childhood as well as a few of my own twis ted creations. I want the viewer to feel transformed back into their youth\ , but this time as if mom spiked their juice-box.” 

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101/exhibit pr esents “Choice Cuts” by Jason Freeny opens Saturday\, March 16 at 7PM and e xhibits through April 6\, 2013.

DTEND:20130406 DTSTAMP:20140417T225315 DTSTART:20130316 GEO:34.0807161;-118.3873912 LOCATION:101/exhibit\,8920 Melrose Avenue \nWest Hollywood\, CA 90069 SEQUENCE:0 SUMMARY:Choice Cuts: New Sculptural Works\, Jason Freeny UID:266871 END:VEVENT BEGIN:VEVENT DESCRIPTION:

1301PE presents Fade to Blac k\, its third exhibition with artist Philippe Parreno< /strong>\, from 23 March until 27 April 2013.

The ghosts of Parr eno's past projects come back to haunt this new series of glow-in-the-dark posters that depict previously aborted works. The posters must be exposed t o light before the imprints become visible in the dark\, gradually fading a way only to reappear when re-exposed to light. The posters show quasi-objec ts - forms that do not exist on their own but depend upon the conditions of the exhibition to appear.

The images bring to the surface of th e conscious mind precisely the things that it could not tolerate. Their sli ght radioactive decay energizes the phosphor\, emitting a glow. The imprint s of never realized works\, failures and unfulfilled desires\, were left be hind in excess. They cannot be truly qualified as artworks as they were ori ginally rejected. They are the heterogeneous\; the pushed back\; the soiled \; the abject\; the gutter\; the filthy\; the snot\; the scum\; the excreme ntal\; the stercoraceous\; the dross\; the ragged\; the eliminated\; the pu lverized\; the ruined\; the fermented\; the spoiled\, the decomposed\; the negligible\; the slag\; the scoria\; the putrescible\; the rotting\; the tu rd\; the dejection\; the evacuation\; the sewer\; the discharge\; the relea se…

Rising to prominence in the 1990s\, Parreno has earned criti cal acclaim for his work\, which employs a diversity of media including fil m\, sculpture\, performance\, drawing and text. He has radically redefined the exhibition experience by conceiving his shows as a scripted space where a series of events unfolds.

Parreno used this format for the re cent exhibition\, Dancing around the Bride at the Philadelphia Museu m of Art which is currently on show as The Bride and The Bachelors a t the Barbican\, London. For this show he has acted as metteur-en-scène (or chestrator)\, using temporal and spatial sequencing to activate the artwork s of John Cage\, Merce Cunningham\, Jasper Johns\, Robert Rauschenberg\, an d Marcel Duchamp.

At his current solo show at Garage Center for Contemporary Culture\, Moscow\, Parreno presents Marilyn (2012)\, wh ich premiered last summer at the Fondation Beyeler\, Basel. For this film h e conjured up Marilyn Monroe through a phantasmagoric séance in a suite at the Waldorf Astoria hotel in New York\, where she lived in the 1950s. The f ilm reproduces Marilyn Monroe's presence by means of three algorithms: the camera becomes her eyes\, a computer reconstructs the rhythms of her voice\ , and a robot recreates her handwriting.

Philippe Parren o lives and works in Paris\, France. He has shown in a series of m ajor solo exhibitions at Garage Center for Contemporary Culture\, Moscow\, Russia\; Fondation Beyeler\, Basel\, Switzerland\; Serpentine Gallery\, Lon don\, UK\; Hessel Museum\, CCS Bard College\, Annandale-on- Hudson\, NY\; I rish Museum of Modern Art\, Dublin\, Ireland\; Kunsthalle Zurich\, Zurich\, Switzerland\; and Musée National d'Art Moderne\, Centre Georges Pompidou\, Paris\, France.

DTEND:20130427 DTSTAMP:20140417T225315 DTSTART:20130323 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Fade to Black\, Philippe Parreno UID:260092 END:VEVENT BEGIN:VEVENT DTEND:20130323T200000 DTSTAMP:20140417T225315 DTSTART:20130323T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Fade to Black\, Philippe Parreno UID:260093 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:20140417T225315 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:20140417T225315 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:20140417T225315 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:20140417T225315 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:20140417T225315 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 a solo exhibition of new bl ack and white photographs by Amir Zaki. The exhibition wil l feature two series of photographs: trees that are isolated against an ope n sky and cropped so there is no ground\, and steep cliff sides as seen fro m the beach along the Southern California coast. All of the photographs are printed with a warm tonality\, and vary in size depending on the specific image. The photos are presented in white frames without Plexiglas\, reveali ng the matte surface of the image without any reflections. Both series of p hotographs capture the beautiful natural imperfections found in the coastal landscape.

In one ser ies\, Zaki photographs individual trees that seem to be abused by the natur al elements or mankind. He often selects the trees based on their irregular and eccentric forms. Each photograph becomes an intimate portrait\, reveal ing unexpected beauty. In contrast to the singularity of the trees\, the se cond body of work depicts Southern California beach cliff sides. Monumental ly scaled retaining walls and fragile zigzagging stairwells that lead to pr ivate residences populate the rugged coastal landscape. Through time\, both the natural and manmade elements evolve together and become subtly blended . Zaki photographs the beach scenes in the late morning when the coastal fo g is burning off creating a visually haunting atmosphere.

Amir Zaki lives and works in Southern C alifornia. He received his MFA from UCLA in 1999 and has been exhibiting na tionally and internationally since graduating. He is an associate professor at University of California at Riverside. Zaki has been included in many g roup exhibitions including the Orange County Museum of Art\, Santa Barbara Museum of Art\, the Whitney Museum of American Art\, and the New Museum of Contemporary Art\, among others.

DTEND:20130427 DTSTAMP:20140417T225315 DTSTART:20130323 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Time Moves Still\, Amir Zaki UID:264024 END:VEVENT BEGIN:VEVENT DTEND:20130323T200000 DTSTAMP:20140417T225315 DTSTART:20130323T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Time Moves Still\, Amir Zaki UID:264025 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present the gallery's second solo e xhibition by Los Angeles artist Christopher Miles. The exh ibition comprises three new sculptures made of paper layered and laminated with acrylic polymer and paint over aluminum armatures. Related to the cera mic works Miles has previously exhibited at ACME.\, the works in this exhib ition further the artist's ongoing interests in sculpture as constructed fo rm and the expressive potential of sculpture. 

Miles' works in recent years give nods to influences as varied as Expressionist\, Cubist\, Surrealist\, and Vitalist sculpture\ , Abstract Expressionist ceramics\, "Neo-Dada\," West Coast Assemblage and "Funk" art\, pre-Minimalist experiments in the evocative potential of space and form\, Postminimalist investigations of phenomenology and materiality\ , and both contemporary and historical artistic considerations of the grote sque and the abject. The works bridge between anthropomorphic suggestion\, visceral presence\, and heavily gestural\, abstract form. The works operate in both the domain of the literal with their insistent materiality\, and t he domain of the literary\, with their teasing allusion. 

Christopher Miles completed his BA at the College of Creative Studies\, University of California at Santa Barbara\, and his MFA at the School of Fine Arts\, University of Southern California. Also well known as a writer and curator\, he has been active in the Los An geles arts community for two decades. He has taught at multiple art schools and departments in Southern California\, and since 1998\, he has been on t he faculty at California State University\, Long Beach\, where he recently served as Director of the School of Art\, and presently serves as the inter im Dean of the College of the Arts.

Eight new sculptures by Miles currently are featured in the art ist's first solo museum exhibition\, on view though July 28\, at the Pasade na Museum of California Art. http://pmcaonline.org

DTEND:20130427 DTSTAMP:20140417T225315 DTSTART:20130323 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Trio\, Christopher Miles UID:264026 END:VEVENT BEGIN:VEVENT DTEND:20130323T200000 DTSTAMP:20140417T225315 DTSTART:20130323T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Trio\, Christopher Miles UID:264027 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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DTEND:20130428 DTSTAMP:20140417T225315 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:20140417T225315 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:

Civilization is revving itself into a pathologically short attention span. The trend might be coming from the acceleration of technology\, the short horizon perspective of market driven economics\, the next-election pe rspective of democracies\, or the distractions of personal multitasking. Al l are on the increase. Some sort of balancing corrective to the short sight edness is needed-some mechanism or myth\, which encourages the long view an d the taking of long-term responsibility\, where 'long-term' is measured at least in centuries.

Stewart Brand
Founding board member of The Long Now Foundation

A &\; R is pleased to announce Rocks &am p\; Clocks a group exhibition featuring new works by Cameron Gainer\, Mark Hagen\, Emilie Halpern\, and Mungo Thomson. The exhibit will include v ideo\, sculpture\, photography and painting that expand and challenge notio ns of time and space.

Cameron Gainer
’s practice spans photography\, video and scul pture. His work investigates themes that include metaphysics\, cognition\, and natural phenomena. Gainer will debut Sunrise/Sunset\, a video installat ion comprised of a projection of a sunset through a hand blown hourglass. A s the sand in the hourglass descends the projection will gradually material ize to physically manifest and quantify a representation of time and its un relenting and cyclical nature.

Cameron Gainer received his MFA from Tyler School of Art\, Philadelp hia\, PA. Gainer has been the subject of solo museum exhibitions at the Fab ric Workshop and Museum\, Philadelphia\, PA\, and the Museum of Contemporar y Art at the University of South Florida\, Tampa\, FL. Recent group exhibit ions include Midnight Party at the Walker Art Center Minneapolis Mn\, Paran oia of Time at Carter and Citizen\, Field Notes at Bard College\, NY\, and Portal at McClain Gallery in Houston Tx\, Recent awards and fellowships inc lude a Pollock- Krasner grant\, a McKnight Fellowship\, and a Smithsonian A rtist Research Fellowship. He currently resides in Minneapolis\, MN.

Mark Hagen’s carved and polished obsidian sculptures refer to the rock’s utilitarian fun ction in tools once employed by ancient civilizations while acknowledging i ts current obsolescence as a sculpted glass. Hagen begins by imposing a str ict geometry\, carving the obsidian into cubes and rectangular shapes that negate the molecular composition of the mineral-like substance. The pieces are then chipped away at by hand in a  manner that is inherent to the mater ial’s property.

Mark Hag en was born in Black Swamp\, VA and received his MFA from California Instit ute of the Arts. Black Swamp\, a solo exhibition at Almine Rech\, Brussels BE is currently on view. Recent group exhibitions include A Handful of Dust at the CAF in Santa Barbara\, Made in L.A. at the Hammer Museum\, Los Ange les\, CA\; Art Public\, at the Bass Museum of Art\, Miami Beach\, FL\; and Lost Line: Contemporary Art from the Collection\, at the Los Angeles County Museum of Art. Mark Hagen lives and works in Los Angeles.

Emilie Halpern’s oeuvre explores a wide range of subjects that include astronomy\, mythology and g eography by employing a combination of poetic restraint and humble gestures . Big Dipper\, centrally installed in the east gallery\, is composed of a c ollection of beach rocks suspended from the ceiling above a mirror on the f loor. These celestial placeholders are hung at heights correspondent to the ir distance from the earth\, which nullifies their seemingly haphazard arra ngement. When their reflection is viewed in the mirror the eponymous conste llation materializes.

Em ilie Halpern received a BA from the University of California Los Angeles an d an MFA from Art CenterCollege of Design. Halpern’s work has been exhibite d at Anna Helwing Gallery\, Los Angeles\, CA\; Art Palace\, Houston\, TX\; Blum and Poe\, Los Angeles\, CA\; Richard Telles Fine Art\, Los Angeles\, C A\; and Leo Koenig\, New York\, NY. Halpern recently had a solo show Jamais Vu at Pepin Moore in Los Angeles.

Mungo Thomson utilizes conceptual strategies to produce irreverent examinations of art history\, science and mysticism in a range of mediums. With simple gestures and dry wit Thomson repositions th e viewer to reconsider the banal and commonplace as remarkable. Thomson’s a nimation Untitled (Time) condenses eighty years of TIME Magazine covers ove r the course of 2:30 minutes. This skittering panoply of history
and mass culture is a literal portrait o f both TIME and time.

Th omson attended the Whitney Museum Independent Study Program in New York and received an MFA from UCLA. Solo exhibitions of Thomson’s work are currentl y on view at SITE Santa Fe and at the Times Museum in Guangzhou\, China. Fo rthcoming shows and performances will take place at the High Line in New Yo rk City\, ArtPace in San Antonio\, and the Vancouver Contemporary Art Galle ry. A monograph is forthcoming from SITE Santa Fe and Vancouver Contemporar y Art Gallery\, and later this year JRP|Ringier will publish Thomson’s musi cal score with Michael Webster\, Crickets. Thomson has also had solo exhibi tions at The Hammer Museum\, Los Angeles\, CA\; The Kadist Art Foundation\, Paris\, FR\; and GAMeC\, Bergamo\, IT\, among others. His work was include d in the 2011 Istanbul Biennial\; The 2008 Whitney Biennial\; and Performa 05\, among others. He lives and works in Los Angeles\, CA.

DTEND:20130601 DTSTAMP:20140417T225315 DTSTART:20130406 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Rocks and Clocks\, Cameron Gainer\, Mark Hagen\, Emilie Halpern\, M ungo Thomson UID:268781 END:VEVENT BEGIN:VEVENT DTEND:20130406T200000 DTSTAMP:20140417T225315 DTSTART:20130406T180000 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Rocks and Clocks\, Cameron Gainer\, Mark Hagen\, Emilie Halpern\, M ungo Thomson UID:268782 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:20140417T225315 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:20140417T225315 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:20140417T225315 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:20140417T225315 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:20140417T225315 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:20140417T225315 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:

This site-specific fictional narrative incorporates the imme diate space around Angels Gate Cultural Center and Angel's Gate High School \, a space of innocent explorations by youth\, but also\, with a proximity to nature\, an embodiment of wild energy of youth. The image of a teenager behind the wheel is not just one of growing up and independence\, but also one of impending disaster. The car wreck is a tragic American narrative sta rring the teenager\, and an allegory for the teenage experience. 

California is only second to the state of Texas in its number of teen fat alities from car wrecks. These big long fast roads that reach out past spra wling suburbs into even more sprawling suburbs are a means to escape the wo rld\, flying over asphalt wrapped in the personal space of a vehicle. The i mage of a teenager behind the wheel is not just one of growing up and indep endence\, but also one of impending disaster. The car wreck is a tragic Ame rican narrative starring the teenager. 

The car wreck is also a story of disorder\, one of chaos. Susan Griffith's novel Women and Nature: The Roaring Inside Her is a charged outlining of objectification of the fem ale body along side her wild counterparts\, or comrades\, the animals and n atural world. Her writing is from what feels now a clichˆ© second wave femi nist dialogue\, but despite its dated tone it resonates with today's imagin ing of human relationship to nature and the gendering of that relationship\ , that ism\, the feminine as wild untamed and dangerous force. Lavatelli re calls turning over a car a year ago- crawling out the sunroof\, pushing the car rightways\, seeing it unharmed\, getting back in\, and driving away. P erhaps she was only able to do this because of her gender\, being a woman s he is wild and more akin to the unknown than the order of the world. 

Lavatelli and teens from Angel's Gate High School worked collaborativ ely to tell stories that considered how they remembered a moment beyond und erstanding\, when they fell into the wilderness\, into the unknown. Teenage rs attempting to take hold of the ground below them to recognize the way we slip and slide down the road from the heights of our immortal self-image. All staged in a space between fantasy and the real\, ripe with drama and am biguity. 

BIOGRAPHY 
Anna Chiaretta Lavatelli is a video installation artist engaging complexities of feminine identity\, pe rformance\, and desire. She received her BA in Media Studies at the Univers ity at Buffalo while performing with various collectives throughout Western New York. After some years working out of Brooklyn she moved out west to o btain her MFA from UC San Diego\, while there she also attended the Skowheg an School of Painting and Sculpture. Nowbased in San Diego she has continue d to exhibit nationally and screen film and video work internationally. Mos t recently she was nominated for the San Diego Art Prize for emerging artis ts.

DTEND:20130426 DTSTAMP:20140417T225315 DTSTART:20130317 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:THE WRECK\, Anna Chiaretta Lavatelli with Jacque Culpepper\, Jaime Hernandez\, Jennifer Marroquin\, Samantha Palazzolo\, Chantelle U. Smith\, Maylin Veal UID:266177 END:VEVENT BEGIN:VEVENT DTEND:20130317T160000 DTSTAMP:20140417T225315 DTSTART:20130317T130000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:THE WRECK\, Anna Chiaretta Lavatelli with Jacque Culpepper\, Jaime Hernandez\, Jennifer Marroquin\, Samantha Palazzolo\, Chantelle U. Smith\, Maylin Veal UID:266178 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Shared Skies speaks to the connections between global \, local and personal. As people look toward the sky each morning\, through the day or each night\, the sky speaks to their personal and local concern s. In a global sense\, we observe the effects of our environmental decision s and find community through a seamless sky.

Shared Skies' photographs are being collected through four situations: Abeles' journeys and artists who participate as they travel worldwide\, international frien ds through social media\, and some purchased from photographers through sto ck photo sites. 

Shared Skies began as a permanent public artwork for the Anderson-Munger YMCA that is being built in Koreatown\, Lo s Angeles. From the Salt Flats of Bolivia to Grand Forks in the United Stat es\, and Maasai Mara\, Kenya to Pine Ridge\, Oglala Sioux Tribe\, our skies portray the connected parts of our place on this earth.

BIOGRAP HY 

Kim Abeles' installations and community projects cross di sciplines and media to explore broad social issues. Her work brings togethe r biography\, geography and environment. She has created artwork in conjunc tion with a unique range of collaborators such as the Bureau of Automotive Repair\, Santa Monica Bay Restoration Project\, California Science Center\, Natural History museums in California and Colorado\, and the Lakota Indian s of South Dakota. 

In 1987\, she innovated a method to create i mages from the smog in the air\, and Smog Collectors brought her work to na tional and international attention. Kim Abeles: Encyclopedia Persona A-Z toured the United States an d South America\, sponsored by the United States Information Agency. She ha s exhibited in twenty-two countries\, including large-scale installations i n Vietnam\, Thailand\, Czech Republic\, England\, China and recently in Sou th Korea. 

She represented the U.S. in both the Fotografie Bienn ale Rotterdam and the Cultural Centre of Berchem in Antwerp. Her work is in numerous private and public collections including the Museum of Contempora ry Art\, California African American Museum\, Los Angeles County Museum of Art\, and is archived in the library collections of the Museum of Modern Ar t and the Cooper-Hewitt Publication Design Collection of the Smithsonian. < br />
Abeles received fellowships from J. Paul Getty Trust Fund for th e Visual Arts\, California Community Foundation\, Durfee Foundation\, Polla ck-Krasner Foundation\, and the California Arts Council.

DTEND:20130426 DTSTAMP:20140417T225315 DTSTART:20130317 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Shared Skies\, Kim Abeles and members of the South Bay/Harbor Commu nity UID:266179 END:VEVENT BEGIN:VEVENT DTEND:20130317T160000 DTSTAMP:20140417T225315 DTSTART:20130317T130000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Shared Skies\, Kim Abeles and members of the South Bay/Harbor Commu nity UID:266180 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anna Meliksetian and MJBriggs are pleased to p resent a solo exhibition by Christiane Lyons:  What Goes Around Comes Around.

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The exhibition consists of a series of new paintin gs inspired by the Rorschach inkblot\, an image of bilateral symmetry. Some paintings represent this pattern more traditionally while others expand on it\, still retaining core traits of a symmetrical image.

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The bilat eral split offers an opportunity to combine normally unrelated source image s by most obviously common colors and shapes. These commonalities lead to m ore abstract notions of symmetry especially in relation to a historical con text.

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Most paintings combine two images from art history\, while so me broaden to include film\, advertising and photography. For instance\, in the painting Breathless Young Woman\, Lyons references two images\, a still from Jean-Luc Goddard’s French New Wave 1960 film classic Breat hless\, mirrored by a Rubens drawing. In a hope to examine the concept of a symmetrical image in relation to the repetitive and circular notion of time\, Lyons has juxtaposed two images to create a new singular image\, th us not only retaining the original integrity and meanings of the two but al so creating a new image with new meanings as a whole.

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Christian e Lyons received her MFA in Painting/Drawing in 2004 from University of Cal ifornia Los Angeles (UCLA) and her BA from University of California\, Berke ley.  This is her second solo show with the gallery\, after her first solo show in 2011 at the Anna Meliksetian Gallery titled Dead\, Headless and Fem ale:  The Matador Paintings.  Lyons lives and works in the San Francisco Ba y area. 

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Please contact Anna Meliksetian or Michael B riggs for further information.

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313 N. Fairfax Ave

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Los Angeles\, CA 90036

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Hours: Tuesday - Saturday\, 12-5pm

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A nna Meliksetian: info@meliksetian.com

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Michael Briggs: info@mjbriggs .com

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Facebook:  www.facebook.com/AnnaMeliksetian.MJBriggsGallery

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Twitter: @mjbriggsgallery

DTEND:20130427 DTSTAMP:20140417T225316 DTSTART:20130316 GEO:34.0766329;-118.3615838 LOCATION:Anna Meliksetian | MJBriggs\,313 N. Fairfax Avenue \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:What Goes Around\, Comes Around\, Christiane Lyons UID:265007 END:VEVENT BEGIN:VEVENT DTEND:20130316T200000 DTSTAMP:20140417T225316 DTSTART:20130316T170000 GEO:34.0766329;-118.3615838 LOCATION:Anna Meliksetian | MJBriggs\,313 N. Fairfax Avenue \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:What Goes Around\, Comes Around\, Christiane Lyons UID:265008 END:VEVENT BEGIN:VEVENT DESCRIPTION:

WAR/PHOTOGRAPHY: Images of Armed Conflict and Its A ftermath will open at the Annenberg Space for Photography on March 23\ , 2013 and run through June 2\, 2013. This exhibition has been organized by The Museum of Fine Arts\, Houston.

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WAR/PHOTOGRAPHY enc ompasses over 150 images going as far back as 1887 through present-day and is arranged by themes presenting both the military and civilian point of vi ew including the advent of war\, daily routines\, the fight itself\, the af termath\, medical care\, prisoners of war\, refugees\, executions\, memoria ls\, remembrance and more.  

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< span style="font-size: small\;">The exhibit includes the work of award-winn ing portrait photographers and photojournalists\, military photographers\, amateurs and artists including iconic images such as Joe Rosenthal’s Old Gl ory Goes Up on Mount Suribachi\, Iwo Jima and Alfred Eisenstaedt’s V-J Day\ , Times Square\, New York.  Recognizable from news coverage is Eddie Adams’ image of the execution of a Viet Cong prisoner on the streets of Saigon.  

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Specific to the Los Angeles exhibit will be the Annenberg Space for Pho tography’s original short documentary film and digital image presentation p roduced by Arclight Productions. Both the documentary and digital gallery w ill feature over 500 photographs exclusive to the Photography Space from si x acclaimed contemporary conflict photographers: Alexandra Avakian\, Caroly n Cole\, Ashley Gilbertson\, Edouard H.R. Glück\, David Hume Kennerly and J oao Silva.

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In interviews in the film\, these six photographers share the ir experiences\, including life-threatening situations faced by their subje cts and themselves. Photographer Joao Silva revisits sites in his native So uth Africa\, recalling the violence that led up to that country’s first dem ocratic election in 1994. Ashley Gilbertson is filmed in Midland\, Texas\, on the final shoot for his book\, Bedrooms of the Fallen\, which examines t he bedrooms of young soldiers who never returned home from war.

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WAR/PHOTOGRAPHY arrives in Los Angeles from The Museum of Fine Art s\, Houston on March 23\, 2013 before it travels to the Corcoran Gallery of Art\, Washington\, D.C.\, and the Brooklyn Museum.

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Though norm ally closed on Mondays (and Tuesdays)\, we will be open on Memorial Day\, M onday\, May 27. Please check ASP website in late May for Memorial Day hours of operation.

DTEND:20130602 DTSTAMP:20140417T225316 DTSTART:20130323 GEO:34.0588889;-118.4133333 LOCATION:Annenberg Space for Photography\,2000 Avenue of the Stars Century Plaza\nLos Angeles\, CA 90067 SEQUENCE:0 SUMMARY:War/Photography: Images of Armed Conflict and Its Aftermath\, Joao Silva\, David Hume Kennerly\, Edouard H.R. Glück\, Ashley Gilbertson\, Caro lyn Cole\, Alexandra Avakian UID:256137 END:VEVENT BEGIN:VEVENT DTEND:20130323T193000 DTSTAMP:20140417T225316 DTSTART:20130323T110000 GEO:34.0588889;-118.4133333 LOCATION:Annenberg Space for Photography\,2000 Avenue of the Stars Century Plaza\nLos Angeles\, CA 90067 SEQUENCE:0 SUMMARY:War/Photography: Images of Armed Conflict and Its Aftermath\, Alexa ndra Avakian\, Carolyn Cole\, Ashley Gilbertson\, Edouard H.R. Glück\, Davi d Hume Kennerly\, Joao Silva UID:256138 END:VEVENT END:VCALENDAR