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

Art is a parameter and instigator of change\, a cultural too l that helps us explore and unveil the processes of human thought: our desi res\, our fears\, our struggles and our aspirations. Printmaking\, in parti cular\, has always played a radical and empowering role in disseminating po litical\, social and aesthetic ideas and in promoting collective emancipati on. Contemporary approaches to the printed image have incorporated new deve lopments in the visual arts and digital media\, giving it new resonance and scope.

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The exhibition\, \;Division: Reflections and Shado ws\, that opens on June 25\, from 2:00 - 5:00 PM\, at the Duró\; n Gallery at the Social and Public Art Resource Center (SPARC) is the resul t of a collaborative effort between SPARC curator Marietta Bernstorff\, art ists from Los de Abajo Printmaking Collective: Kay Brown\, Nguyen Ly\, Yvet te Mangual\, Poli Marichal\, Don Newton and Marianne Sadowski\, and invited artists Daniel Gonzalez from Los Angeles\, Pavel Acevedo from Oaxaca\, and Sergio Sá\;nchez Santa Marí\;a and \;Joel Rendó\;n\, from Mexico City. \;

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Each artist in this show has created work that strives to push the boundaries of printmaking canons\, as well as exp ose\, explore and document the divisions and borders\, either imaginary\, p olitical or real\, that impede equality\, solidarity and true freedom. To q uote Iranian artist Shirin Neshat: &ldquo\;Art is our weapon. Culture i s a form of resistance.&rdquo\; \;

DTEND:20160820 DTSTAMP:20160527T203734 DTSTART:20160625 GEO:33.9915148;-118.4586206 LOCATION:Social and Public Art Resource Center (SPARC)\,685 Venice Bl \nVen ice \, CA 90291 SEQUENCE:0 SUMMARY:Division: Reflections and Shadows \, Kay Brown\, Nguyen Ly\, Yvette Mangual\, Poli Marichal\, Don Newton\, Marianne Sadowski\, Daniel Gonzalez \, Pavel Acevedo\, Sergio Sánchez Santa María\, Joel Rendón UID:419701 END:VEVENT BEGIN:VEVENT DTEND:20160625T170000 DTSTAMP:20160527T203734 DTSTART:20160625T140000 GEO:33.9915148;-118.4586206 LOCATION:Social and Public Art Resource Center (SPARC)\,685 Venice Bl \nVen ice \, CA 90291 SEQUENCE:0 SUMMARY:Division: Reflections and Shadows \, Pavel Acevedo\, Kay Brown\, Da niel Gonzalez\, Nguyen Ly\, Yvette Mangual\, Sergio Sánchez Santa María\, P oli Marichal\, Don Newton\, Joel Rendón\, Marianne Sadowski UID:419702 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Meliksetian | Briggs is pleased to present Time Machine/ \;Hippie Dandy\, a solo exhibition of new w ork by artist Todd Gray featuring photo based work\, paint ing and ephemera complimentinghis social sculpture / performance piece Ray running concurrently and for the duration of the Made in LA biennial at the Hammer Museum\, Los Angeles.

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Gray&rsquo\;s new body of work\, Time M achine/Hippie Dandy\, is the outgrowth of his \; &ldquo\; quiet performance\,&rdquo\; Ray\, a work for the late musician Ray Manzarek\, his close friend\, mentorand co-founder of the legendary band < em>The Doors. \; When Manzarek died in 2013\, his widow Dorothy al lowed Gray to borrow the musician&rsquo\;s complete wardrobe\, luxurious de signer clothes that are sometimes avant-garde\, and sometimes flamboyant\, befitting a rock star. For one complete year beginning on May 20\, 2014\, G ray embarked on the performance\, a social sculpture as he refers to it\, w earing only clothes belonging to Manzarek\, a subtle shift that impacted th e routines of Gray&rsquo\;s daily life. Conducted outside the auspices of a ny institution\, the gesture was not reducible to either an artistic or mem orial impulse. Gray refused to formally document the performance piece phot ographically or by using video adhering to the tropes of conceptual art\, l est the documentation became a surrogate for the physical experience of the work itself. The only way for the viewer to engage with the social sculptu re was to be in Gray&rsquo\;s presence during the time he wore the clothing .

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Instead\, over the next year Gray used the conceptual foundation of the performance as a platform to make a new body of work. He gathered quotidian snapshots taken of him by family and friends during the course of the performance\, then commissione d sign painters from Ghana to make paintings based on these snapshots. Gray photographed the painted canvases and added them to his digital archive of images. \; As in previous series&rsquo\;\, Gray then re-contextualized this archive via juxtaposition with images of the Ghanaian landscape\, arc hitecture\, and people\, along with images of the cosmos from the Hubble Te lescope\, using found antique frames as well as artist-made frames as a str ucturing device for the art works.

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Time Machine/Hippie Dandy at Meliksetian | Brig gs is comprised of Gray&rsquo\;s new photo-based sculptural work\, an insta llation of the original paintings made by the Ghanaian sign painters\, as w ell as\, ephemera from the artist&rsquo\;s year long performance piece\, Ray. \; The new work remains strongly autobiographical\, comment ing on the relationship with his mentor and friend\, Ray Manzarek. \; L ike his previous exhibition at the gallery\, Exquisite Terribleness\, combining images from the Ghanaian landscape with work made in the US\, problematizes Gray&rsquo\;s position within the African Diaspora while ref erring to the celebrity and music culture of Los Angeles that Gray was a pa rt of and participant in\, and addressing notions of identity\, memory\, hi story and loss.

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T odd Gray (b. 1954) lives and works in Los Angeles and Ghana. H e received both his BFA and MFA from the California Institute of the Arts ( Cal Arts). Grayworks in multiple formats including photo-based wor k as well as sculpture and performance. Gray will be re-staging the perform ance piece &ldquo\;Ray&rdquo\; for the duration of this year&rsquo\;s Made in LA biennial\, entitled a\, the\, though\, only\, curated by Aram Moshaye di and Hamza Walker open from June 12 to August 28\, 2016.

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Past solo and group ex hibitions include the Luckman Gallery\, Cal State University\, Los Angeles\ , Studio Museum\, Harlem\, NY\, USC Fisher Museum of Art\, Los Angeles\, Ca lifornia African American Museum\, Los Angeles\, Tucson Museum of Art\, Det roit Museum of Art\, Renaissance Society\, University of Chicago among othe rs. Performance works have been presented at institutions such as the Roy & amp\; Edna Disney Cal/Arts Theater\, REDCAT\, Los Angeles\, Armory Center f or the Arts\, Pasadena\, and the Japanese American National Museum\, Los An geles.

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A partial list of Gray&rsquo\;s work in public collections includes the Na tional Gallery of Canada\, SFMoMA / San Francisco Museum of Modern Art\, LA CMA / Los Angeles County Museum of Art\, MOCA / Museum of Contemporary Art\ , Los Angeles\, the University of Connecticut and the Studio Museum\, Harle m.

DTEND:20160813 DTSTAMP:20160527T203734 DTSTART:20160610 GEO:34.0766329;-118.3615838 LOCATION:Meliksetian | Briggs\,313 N. Fairfax Avenue \nLos Angeles\, CA 900 36 SEQUENCE:0 SUMMARY:Time Machine / Hippy Dandy\, Todd Gray UID:419699 END:VEVENT BEGIN:VEVENT DTEND:20160610T200000 DTSTAMP:20160527T203734 DTSTART:20160610T180000 GEO:34.0766329;-118.3615838 LOCATION:Meliksetian | Briggs\,313 N. Fairfax Avenue \nLos Angeles\, CA 900 36 SEQUENCE:0 SUMMARY:Time Machine / Hippy Dandy\, Todd Gray UID:419700 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Knowledge production

\n< p align="center">in art and science

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explored by THEMODELINGAGENCY

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Pasadena\, CA &ndash\; The Armory Cent er for the Arts is proud to present THEMODELINGAGENCY: TEKTITE &nbs p\;&ndash\;reflux\, an exhibition of new works by THEMODELINGAGENCY\, a collaboration bet ween artists Nick Herman and Christopher James. Conflating experimental art with scientific method\, the drawings\, paintings\, sculptures\, and video displayed here utilize the environment of the lab and strategies familiar to field work to produce alternative results to an existing body of scienti fic research. In doing so\, these objects and images (re)frame the oppositi onal relationship between utility and art\, the objective and subjective\, and aesthetics and knowledge. The exhibition is on view in the Armory&rsquo \;s Mezzanine Galleries from June 5 through September 11\, 2016. A receptio n\, free and open to the public\, will take place on Saturday\, June 4\, 20 16 from 6-8pm. The exhibition has been organized by Irene Tsatsos\, the Arm ory&rsquo\;s Gallery Director/Chief Curator\, with generous support from Th e Andy Warhol Foundation for the Visual Arts.

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During the Spring of 2013\, THEMODELINGAGENCY took up residence a t the Virgin Islands Ecological Research Station (VIERS)\, located on the r emote south side of the island of St. John in the U.S. Virgin Islands. The facilities there had been built to support the 1969 project Tektite\, a NAS A experiment in undersea living and working envisioned as a model for the f easibility of con­\;ducting research in space. While at VIERS\, THEMODEL INGAGENCY investigated both the research undertaken by the marine scientist s occupying the undersea habitat as well as the concurrent NASA-funded beha vioral study conducted on the submariner scientists from above. Enacting a kind of aesthetic reproduction of these tiered projects and utilizing metho dologies and materials employed in conducting the original research\, THEMO DELINGAGENCY offers a consideration of the context and contingencies of how knowledge is produced.

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According to the artists\, the strategy of modeling is fundamental to scientific inquiry \, but it is also familiar to artistic practices that employ process-based experimentation. Herman and James emphasize that while scientists use model s to describe and account for phenomena\, artists use modeling to embod y phenomena and so accordingly\, the kind of knowledge produc es differs. In scientific modeling\, data is gathered through controlled ob servation and the knowledge that is produced is considered objective. In co ntrast\, the subjective\, experimental strategies of artists create the con ditions for unpredictable outcomes for reasons that may have more to do wit h achieving a sense of emancipation from those uncertainties than an unders tanding of them.

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About the Artists

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Nick Herman is an artist and write r and publisher of the imprint anteprojects. He has an MFA in sculpture fro m Yale University and a BA in religious studies from Macalester College. He has exhibited his work nationally and internationally at The Museum of Mod ern Art\, Antwerp\, The Sculpture Center\, Peter Blum Gallery\, LA>\;<\ ;ART\, 356 Mission\, Artist Curated Projects (ACP)\, and Public Fiction\, a mong others. He was an artist-in-residence at The Chinati Foundation in Mar fa\, Texas in 2011.  \;

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C hristopher James is an artist\, writer\, and curator. He has been published in The Believer\, Cabinet\, artUS\, an d X-TRA Journal of Contemporary Art\, where he has written about t he unique conditions of art production in Southern California.  \;His a rtwork has been exhibited in New York at The Kitchen\, Brooklyn Museum\, Wh itney at Altria\, SAUCE\; Internationally at the Museo San Telmo\, San Seba stian\; Magasin 3\, Stockholm\; and Gasworks\, London as well as numerous s ites and galleries in Los Angeles. He was educated at Colgate University\, Hamilton\, New York\, and the San Francisco Art Institute and was awarded a Joan Mitchell grant to attend the residency program at the Atlantic Center for the Arts. In 2010 he produced artwork as a guest of the Hotchalpine Fo rschungsstation Jungfraujoch\, a high altitude research station located at 11\,400 feet in the Swiss Alps.

DTEND:20160911 DTSTAMP:20160527T203734 DTSTART:20160605 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:THEMODELINGAGENCY: TEKTITE –reflux\, Nick Herman\, Christopher Jame s UID:419691 END:VEVENT BEGIN:VEVENT DTEND:20160604T200000 DTSTAMP:20160527T203734 DTSTART:20160604T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:THEMODELINGAGENCY: TEKTITE –reflux\, Nick Herman\, Christopher Jame s UID:419692 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Craft and action resonate in
< em>Ellen Lesperance\, Helen Mirra\, Traversing

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Pasadena\, CA &ndash\; The Armory Center f or the Arts is proud to present Ellen Lesperance\, Helen Mirra\, Traver sing\, an exhibition that features new paintings and a recent interact ive project by Lesperance\, and an international\, intergenerational weavin g project organized by Mirra. The exhibition has been organized for the Arm ory by guest curator Cassandra Coblentz\, with generous support from The An dy Warhol Foundation for the Visual Arts and the Pasadena Art Alliance. The exhibition is on view in the Armory&rsquo\;s Caldwell Gallery from June 5 through September 11\, 2016. A reception\, free and open to the public\, wi ll take place on Saturday\, June 4\, 2016 from 6-8pm.

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Through their works\, Ellen Lesperance and Helen Mirra bo th consider the complex relationships we as individuals have to the physica l and political landscapes we navigate. Each approaches her practice with a similarly poetic tone and critical consciousness. They share an interest i n the material of textiles and the structural grid as well as a tendency to create work within carefully derived conceptual systems and parameters. Fu rthermore\, for both artists\, walking plays a central role in their art.&n bsp\;

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Despite their affinities\, how ever\, Mirra and Lesperance approach these concepts and activities in strik ingly different ways. In this exhibition\, the metaphor of traversing also refers to the idea of moving across the space between ideas and perspective s. The presentation of their projects together generates a dialogue between their ideologically distinct positions and subjectivities. Seen together\, the projects offer an opportunity to compare and contrast approaches to si ngular\, specific\, and intimate physical experience versus public\, shared experience.

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Ellen Lesperance\, H elen Mirra\, Traversing highlights another conceptual underpinning of the overall project: the notions of dialogue and exchange as they relate to artistic production and exhibition curating. An accompanying publication d ocuments these dynamics and poses questions about how we can move beyond bi nary models of conversation\, collaboration and the nature of making and ex periencing art.

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About the Artists

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Ellen Lesperance (b. 1971\, Minneap olis MN) lives and works in Portland\, Oregon. Her work has been exhibited widely\, most recently at the Drawing Center\, New York\, the Seattle Art M useum\, the Portland Art Museum\, and in the People&rsquo\;s Biennial (trav eling). Lesperance&rsquo\;s work is represented in the following public col lections: the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum\; the Museum of Art and Design\; the Portland Art Museum\; the Bill and Melinda Gates Foundation\; and at the Kadist Art Foundation. Lesperance has been honored with the Northwest regional Betty Bowen Award\, a Robert Rauschenberg &ldquo\;Artist-as-Activist&rdquo\; Grant\, a Ford Family Fello wship in the Arts\, and a Pollock-Krasner Foundation Grant. She received he r MFA from Rutgers University in 1999 and has received residencies at the S kowhegan School\; the MacDowell Colony\; the Djerassi Foundation\; and the Atlantic Center.

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Helen Mirra (b. 1970\, Rochester NY) presently maintains a rhythm of working in a sustained relation to wal king\, and her loyalty is to both the metrical and the ecological. Solo exh ibitions include the Renaissance Society at the University of Chicago\, the Berkeley Art Museum\, Kunst-Werke Berlin\, Haus Konstruktiv Zurich. She ha s also participated in the 50th Venice Biennial\, the 30th Sao Paulo Bienal \, and the 12th Havana Bienal. Public projects include Farbenweg\, indi rekter\, architecturally embedded among the houses of the Universalmus eum Joanneum in Graz\, Austria\, and Instance the Determination at the University of Chicago\, and a GSA Art-in-Architecture project at the M innesota-Canada border. A fifteen-year survey (1996-2010) of her work was p resented at Culturgest in Lisbon Portugal in 2014. Mirra has received award s from the Louis Comfort Tiffany Foundation\, the Driehaus Foundation\, and Artadia\, and has been a guest of the DAAD Kunstlerprogramm in Berlin\, th e Laurenz Haus in Basel\, IASPIS in Stockholm\, and OCA in Oslo\, a fellow at the MacDowell Colony and Civitella Ranieri\, and artist-in-residence wit h the Consortium of the Arts at the University of California at Berkeley\, the Center for Book Arts at Mills College\, and the Isabella Stewart Gardne r Museum.

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About the Curator

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Cassandra Coblentz is Senior Curator and Director of Public Engagement at Orange County Museum of Art. She has a diverse curatorial practice that champions the ar tistic process. Taking innovative approaches to collaborating with artists and architects\, she initiated the Scottsdale Museum of Contemporary Art&rs quo\;s Architecture + Art program that explores the boundaries between thes e creative practices\, producing large-scale site-specific commissions with Hector Zamora\, Annie Han\, and Daniel Mihalyo of Lead Pencil Studio\, as well as Jay Atherton and Cy Keener. Most recently she curated the exhibitio n We Tell Ourselves Stories in Order to Live for The Ford Family F oundation and Museum of Contemporary Craft in Portland\, Oregon. She has au thored and managed the production of several exhibition catalogues and publ ications including How Deep Is Your\, a mid-career survey of the w ork of Julianne Swartz\, published in 2012\, and Lyle Ashton Harris: Bl ow Up\,published by D.A.P. Her professional experience includes appoin tments at Hammer Museum\, DIA Center for the Arts\, Fabric Workshop and Mus eum\, and The J. Paul Getty Museum. She received her BA in Art History and English from Cornell University and her MA from the Center for Curatorial S tudies at Bard College.

DTEND:20160911 DTSTAMP:20160527T203734 DTSTART:20160605 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Ellen Lesperance\, Helen Mirra\, Traversing\, Ellen Lesperance\, He len Mirra UID:419687 END:VEVENT BEGIN:VEVENT DTEND:20160604T200000 DTSTAMP:20160527T203734 DTSTART:20160604T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Ellen Lesperance\, Helen Mirra\, Traversing\, Ellen Lesperance\, He len Mirra UID:419688 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160607 DTSTAMP:20160527T203734 DTSTART:20160607 GEO:34.10119;-118.331831 LOCATION:Los Angeles Contemporary Exhibitions (LACE)\,6522 Hollywood Blvd. \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:Irrational Exhibits 9 UID:419650 END:VEVENT BEGIN:VEVENT DTEND:20160607T200000 DTSTAMP:20160527T203734 DTSTART:20160607T180000 GEO:34.10119;-118.331831 LOCATION:Los Angeles Contemporary Exhibitions (LACE)\,6522 Hollywood Blvd. \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:Irrational Exhibits 9 UID:419651 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Steve Turner is pleased to present After Sono ra\, a solo exhibition of new paintings by Ivan Comas that are loosely based on the scenery of Sonora\, a state in northern Mexico that Comas rec ently explored in depth\, wandering slowly between its red and yellow deser t and and its blue coastline. \;

DTEND:20160709 DTSTAMP:20160527T203734 DTSTART:20160603 GEO:34.0906903;-118.3392758 LOCATION:Steve Turner\,6830 Santa Monica Blvd \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:After Sonora\, Ivan Comas UID:419635 END:VEVENT BEGIN:VEVENT DTEND:20160603T210000 DTSTAMP:20160527T203734 DTSTART:20160603T190000 GEO:34.0906903;-118.3392758 LOCATION:Steve Turner\,6830 Santa Monica Blvd \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:After Sonora\, Ivan Comas UID:419636 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Marc Selwyn Fine Art is pleased to announce\, Looking Through \;Pictures\, an exhibition of new work b y Matt Lipps.

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In this series\, Lipps explores the genre of still life photography in relation to the mise-en-scè\;ne of theater as a space for figures\, props\, objects&mdash\;and photography itself&mdash\;to perform. With a broad cast of characters culled from vari ous high and low sources\, the &ldquo\;actors&rdquo\; range from the famili ar to the formal (including modernist sculpture\, figure models\, and flora l arrangements) set to a backdrop that engages the &ldquo\;death&rdquo\; of Modernism as seen through the medium of photography and artwork reproducti ons found on the book&rsquo\;s page.

DTEND:20160526 DTSTAMP:20160527T203734 DTSTART:20160526 GEO:34.0643546;-118.4134485 LOCATION:Marc Selwyn Fine Art\,9953 South Santa Monica Boulevard \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:Looking Through Pictures\, Matt Lipps UID:419608 END:VEVENT BEGIN:VEVENT DTEND:20160526T200000 DTSTAMP:20160527T203734 DTSTART:20160526T180000 GEO:34.0643546;-118.4134485 LOCATION:Marc Selwyn Fine Art\,9953 South Santa Monica Boulevard \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:Looking Through Pictures\, Matt Lipps UID:419609 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sandra Lauterbach | Material Matters

\n< p>LA Artcore Brewery Annex

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650 A South Avenue 21

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Los Angele s\, CA 90031

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(323) 276-9320

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info@laartcore.org

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&nbs p\;

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http://www.laartcore.org/

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http://www.sandralauterbach.c om/

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Opening reception June 5\, 1-3pm

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Exhibi tion runs June 2nd through June 26th

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Using a sewing machine as a tool for artistic creation\, Sandra creates complexity with c olor and depth to explore dimensions of physical space. This results in a c omplex layering of materials\, free form shape and a three dimensional aspe ct to the work. Swirls\, circles\, flowers\, patterns\, lines\, and prints of almost every imaginable color are pieced together to form a complete tra nscendental piece of time and place.

DTEND:20160626 DTSTAMP:20160527T203734 DTSTART:20160605 GEO:34.064801;-118.2168067 LOCATION:LA Artcore Brewery Annex\,650 A South Avenue 21 \nLos Angeles\, CA 90031 SEQUENCE:0 SUMMARY:Sandra Lauterbach | Material Matters\, Sandra Lauterbach UID:419485 END:VEVENT BEGIN:VEVENT DTEND:20160605T150000 DTSTAMP:20160527T203734 DTSTART:20160605T130000 GEO:34.064801;-118.2168067 LOCATION:LA Artcore Brewery Annex\,650 A South Avenue 21 \nLos Angeles\, CA 90031 SEQUENCE:0 SUMMARY:Sandra Lauterbach | Material Matters\, Sandra Lauterbach UID:419486 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Archival Metallic Print/Acrylic Facemount\, single image

DTEND:20160124 DTSTAMP:20160527T203734 DTSTART:20160121 GEO:34.0143445;-118.4492135 LOCATION:Photo LA\,The REEF/LA Mart 1933 Broadway\nLos Angeles\, CA 90007 SEQUENCE:0 SUMMARY:Light Amplification 1.0\, Donn Delson UID:419447 END:VEVENT BEGIN:VEVENT DTEND:20160121T200000 DTSTAMP:20160527T203734 DTSTART:20160121T180000 GEO:34.0143445;-118.4492135 LOCATION:Photo LA\,The REEF/LA Mart 1933 Broadway\nLos Angeles\, CA 90007 SEQUENCE:0 SUMMARY:Light Amplification 1.0\, Donn Delson UID:419448 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

DTEND:20160702 DTSTAMP:20160527T203734 DTSTART:20160528 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Works on Paper\, Gilbert "Magu" Lujan UID:419372 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

DTEND:20160702 DTSTAMP:20160527T203734 DTSTART:20160528 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Work from Art Division Print Collective\, Javier Carrillo\, Roberto Ortiz\, Jairo Perez UID:419368 END:VEVENT BEGIN:VEVENT DTEND:20160528T190000 DTSTAMP:20160527T203734 DTSTART:20160528T170000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Work from Art Division Print Collective\, Javier Carrillo\, Roberto Ortiz\, Jairo Perez UID:419369 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

DTEND:20160702 DTSTAMP:20160527T203734 DTSTART:20160528 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Small Works\, Dan McCleary UID:419362 END:VEVENT BEGIN:VEVENT DTEND:20160528T190000 DTSTAMP:20160527T203734 DTSTART:20160528T170000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Small Works\, Dan McCleary UID:419363 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

DTEND:20160702 DTSTAMP:20160527T203734 DTSTART:20160528 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:DTLA\, John Humble UID:419358 END:VEVENT BEGIN:VEVENT DTEND:20160528T190000 DTSTAMP:20160527T203734 DTSTART:20160528T170000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:DTLA\, John Humble UID:419359 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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On view in the gallery's office spa ce is \;Destroy'ed and Rebuilt\, \;a special presentation of works by UR New York: Fernando Romero and Mike Baca\, a graffiti duo fro m New York City. Known for their urban-industrial aesthetic\, the pair has been collaborating since 2006\, combining graffiti\, photography\, screen-p rinting and graphic design in their impactful mixed-media works.
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With a philan thropic mission to connect to youth culture and to share the powerful poten tial of self-expression\, the duo embraces experimentation and the diversit y of context and environment. Born and bred in New York City\, URNYC began making art on the streets and in the city's subway system. Now\, their work has been showcased internationally\, in museums\, galleries\, and cultural platforms across the world.
DTEND:20160618 DTSTAMP:20160527T203734 DTSTART:20160528 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Destroy'ed and Rebuilt\, UR New York UID:419237 END:VEVENT BEGIN:VEVENT DTEND:20160528T210000 DTSTAMP:20160527T203734 DTSTART:20160528T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Destroy'ed and Rebuilt\, UR New York UID:419238 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Concurrently on view in the Thinkspace pro ject room is \;Breaking Point\, featuring new works by America n\, Berlin-based\, artist James Bullough. A technically accomplished painte r who creates with a staggering degree of detail\, Bullough begins with fig urative imagery\, disjointing and levitating its fragmented parts impressio nistically to build dynamic surfaces that read with startling affective res onance.

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

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His technique and style h ave evolved significantly over the past three years. Earlier works involved graphic additions and interruptions\, with areas of the figure clearly rem oved. Now the works are increasingly dynamic as the bodies' interrupted seg ments have been shifted and activated\, rather than deleted. Areas of the f igure are superimposed\, vibrating with transitional movement rather than a pprehended in static still. Each piece is created primarily with a minute # 1 brush\, a preference the artist has cultivated for its control and detail . Working on canvas\, reclaimed wood flooring from a Berlin dance studio\, and panel\, Bullough continues to experiment with his materials and ground.
DTEND:20160618 DTSTAMP:20160527T203734 DTSTART:20160528 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Breaking Point\, James Bullough UID:419235 END:VEVENT BEGIN:VEVENT DTEND:20160528T210000 DTSTAMP:20160527T203734 DTSTART:20160528T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Breaking Point\, James Bullough UID:419236 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Thinkspace&n bsp\; is pleased to present new works by Curiot in \;Warped Passage \, opening May 28. \;Michoacá\;n artist Favio Martinez\, kno wn by his pseudonym Curiot\, currently lives and works in Mexico City. Rais ed in Costa Mesa\, California\, the artist relocated to Mexico\, following his completion of high school\, hoping to reconnect with his estranged cult ural roots. He completed his BFA at the \;Universidad Michoacana \; in 2008 and since then has continued to hone his unique aesthetic in both h is ambitiously scaled site-specific public mural pieces and his gallery wor ks.
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Renowned for his experimentally surrea l and colorfully vibrant imagery\, Curiot creates visual worlds with an ant hropological suggestion. Simultaneously ancient and contemporary\, they're inspired by Mexican folklore\, handicraft traditions\, textiles\, and patte rns. His larger-than-life sensibility often borders on the abstract\, as he combines the human and the animal into awe-worthy aggregates. Ambiguously totemic and ancestral\, the works have been known to explore the primal coe xistence\, and contention\, of the human and natural worlds. An advocate fo r the preservation and respect of this tenuous balance\, Curiot has created a mythological shorthand with a wealth of characters and recurring symbols \, immediately recognizable as his own.
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In this new body o f work\, Curiot explores transition and metaphysical passage\, working inte ntionally within a loosely defined future tense. In this dizzying new quasi -futuristic realm\, the mythological creatures of his self-devised mytholog y have passed on\, transmogrified\, and are reincarnated as depictions of d eities and icons for worship. Exploring both loss and expulsion\, metamorph osis and inheritance\, Curiot offers a labyrinthine splitting of worlds and paths.
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The breaking of light will offer first site of the path within paths\, at times intertwined or straight\, split into two or three or four\, hidden exits and glowing welcomes. As some tunnels cave in behind you\, one may think\, what if? But does it really matter\, each r oad that one takes is that of the unknown\; unexplored experiences which bu ild upon a dream\, a dream we all share\, that slowly unravels within our t ime. The mirage will remain for others to probe\, vanity fades\, knowledge transfers\, we wake once again to another bright door.- CURIOT
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Act 1: Warped Passage \;wil l feature a collection of new paintings\, two new digital editions\, an adv enturous installation component\, including musical accompaniment from Fran z (Pira MD Records) as well as an offsite mural completed for the RFK Schoo ls project via Branded Arts.
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DTEND:20160618 DTSTAMP:20160527T203734 DTSTART:20160528 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Act 1: Warped Passage\, Curiot UID:419233 END:VEVENT BEGIN:VEVENT DTEND:20160528T210000 DTSTAMP:20160527T203734 DTSTART:20160528T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Act 1: Warped Passage\, Curiot UID:419234 END:VEVENT END:VCALENDAR