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

Recent new wall mounted sculpt ures by the highly regarded Chicago-based artist employing wood\, metals an d paint.

Recent exhibitions include Signal\, Rhona Hoffman Galle ry\, Chicago IL 2014 (solo)\; Carved\, Cast\, Crumpled: Sculpture\, Smart M useum of Art\, University of Chicago\, Chicago IL 2014\; Lets Go Let Go: In Memoriam Hudson\, 33 Orchard\, New York NY 2014\; Chicago Conceptual Abstr action\, 1986 &ndash\; 1995\, MCA DNA\, Chicago IL 2013\; James Harris Gall ery\, Seattle WA 2013 (solo)\; Richard Rezac: Sculpture 2003-2012\, Laura M esaros Gallery\, West Virginia University\, WV 2012 (solo)\; and TWIG Galle ry\, Brussels\, Belgium 2011 (solo).

DTEND:20150620 DTSTAMP:20150525T133501 DTSTART:20150523 GEO:34.0629923;-118.3632028 LOCATION:Marc Foxx\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:in the West Gallery: Richard Rezac\, Richard Rezac UID:384707 END:VEVENT BEGIN:VEVENT DTEND:20150523T200000 DTSTAMP:20150525T133501 DTSTART:20150523T180000 GEO:34.0629923;-118.3632028 LOCATION:Marc Foxx\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:in the West Gallery: Richard Rezac\, Richard Rezac UID:384708 END:VEVENT BEGIN:VEVENT DESCRIPTION:

MARC FOXX \;is pleased to present new paintings by London-based artist \;Sam Windett \;in his third solo exhibition with the gallery.< br />
Abstracted\, ghosted back or buried\, dates and months and years are embedded in Windett&rsquo\;s paintings as compositional elements. Loca ting the paintings in a particular place\, dates and information from newsp apers are used as starting points for the paintings and collaged into the w orks. The newspaper and news print stock elements are laid down in rough\, irregular patterns over already painted surfaces on to which Windett again builds with active brushwork resulting in a unique physical presence.

Mount Analogue\,&nb sp\;René\; Daumal&rsquo\;s novel about the search for an unknown moun tain\, which can only be viewed from a particular point when the Sun&rsquo\ ;s rays hit the Earth\, was an influence on how Windett built the complex s urfaces of the works that employ raking light as a significant element. Chi ldhood memories of dirt biking culture informed the palette and the express ionistic brushwork of the white \;Biker 1 (14 January 2015)and black and cobalt \;Biker 2 (3 January 2015)\, which ar e arresting examples\, as is the variegated dark \;Black Valley (6 February 2015).
 \;< br />Recent exhibitions include The Grantchester Pottery paints the stage\, Jerwood Space\, London\, UK 2015\; This Panel is That Painting\, The Appro ach\, London\, UK 2014 (solo)\; Inside Arrangement\, Mary Mary\, Glasgow\, UK 2014\; Intersection- Contemporary Abstraction And Figuration\, Online Ex hibition curated by Steve Gibson\, The Torrance Art Museum\, Torrance\, CA\ , USA 2013\; Pale Ontology\, MARC FOXX\, Los Angeles 2012\; and The Approac h\, London UK 2011 (solo).

DTEND:20150620 DTSTAMP:20150525T133501 DTSTART:20150523 GEO:34.0629923;-118.3632028 LOCATION:Marc Foxx\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Sam Windett UID:384703 END:VEVENT BEGIN:VEVENT DTEND:20150523T200000 DTSTAMP:20150525T133501 DTSTART:20150523T180000 GEO:34.0629923;-118.3632028 LOCATION:Marc Foxx\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Sam Windett UID:384704 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Kordansky Gallery is ple ased to announce \;Painting (Organic)\, an exhibition of new work by Andrew Dadson. The exhibiti on will open on \;Friday\, May 29\, 2015 \;at 5130 W. Edgewood Plac e and will continue on view through \;July 11. An opening reception wil l be held on \;May 29from \;6:00pm until 8:00pm.

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Andrew Dadson heightens the relationship between painti ng and the surrounding physical world by experimenting with painting's foun dational components (color\, texture\, medium\, and support) and by bringin g awareness to the body and its modes of perception. Displaying the breadth of his inquiries\, the exhibition \;Painting (Organic) \;features three interrelated bodies of work: paintings that share concerns with sculpture\; a major display of photographs that document abstraction in the built environment\; and an in stallation of colored lights and painted live plants\, the latest in a seri es of plant-related works that he has made over the last decade. Each work addresses how marks\, painted or otherwise\, affect and are informed by the contexts in which they are made.

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The paintings in this exhibition are amongst Dadson's largest to date\, and th eir making involves techniques new to his process. These include\, for inst ance\, the temporary application of pieces of foam to the canvas. Before th e foam is eventually removed\, paint is sculpted around it so that accumula tions of paint medium approaching an inch or more in thickness are left beh ind. Working within these built-up areas using hand tools\, as well as his own hands and fingers\, Dadson allows his repertoire of marks to evolve org anically (to allude to the exhibition's title) from actions that were alrea dy elements of his practice.

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If earli er paintings highlighted the scraping that unified their many layers of med ium and pigment\, and that created the characteristic masses that hang off their top or bottom edges\, then the paintings in this exhibition place suc h processes within a broader vocabulary of moves. The hanging masses are no longer simply the secondary results of a primary physical action\, but als o parts of an overall field where paint is manipulated as a physical thing in its own right rather than as a material designed to depict something els e. Dadson now treats these masses as another kind of surface to be manipula ted\, sculpted\, or marked\, i.e.\, mark and surface have become one. He th en raises the sculptural stakes even further by spraying these highly textu ral compositions with differently colored paints from each side\, creating a lenticular effect that is put in motion when a viewer walks past the pain ting.

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Part sculpture\, drawing\, and performance\, the active\, cross-disciplinary nature of Dadson's paintings finds a corollary in their titles\, which he often borrows from canonical e xamples of conceptual and performance art. New paintings\, for example\, ma ke reference to Bas Jan Ader\, Jay DeFeo\, Wally Hedrick\, and Robert Smith son. But perhaps the clearest indication that Dadson is interested in loose ning painting's attachment to its history comes in the form of the installa tions and photographs that he has produced since the beginning of his caree r\, and which play a key role in this exhibition.

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Displayed as a grid of 160 framed inkjet prints\, \;Cuneiform\, 2015\, is a series of photographs that documents the abstract marks revealed when signs are re moved from exterior walls. Taken in Vancouver and Los Angeles\, the images focus on the gestures made by sign-posters as they apply their glue. Dadson organizes these photographs into an alphabet-like system\, raising questio ns about the degree to which the marks\, ordinarily hidden from view\, are thoughtfully made. The anthropological flavor imparted by the presentation suggests that such distinctions might not matter\, and that the marks\, for all that they reveal about the anonymous people who made them\, are part o f a formal ecosystem that also includes the colors and textures of the wall s on which they are drawn.

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By excavat ing visual histories like these\, Dadson makes clear that viewing the world demands the same level of activity and commitment as painting\, sculpting\ , or other mark-making. The installation \;Black Painted Plants\, 2015\, calls attention to seve ral different kinds of looking\, including those that can only happen over long periods of time. Inspired by an archival photograph of Matisse's studi o in which plants cast an abstract pattern of shadows on a wall\, Dadson ha s placed a series of filtered lights before a group of house plants\; as th e work's title suggests\, these plants have been painted black with a non-t oxic paint\, bringing uncanny sharpness and contrast to their forms. The su btle hues created by the lights\, meanwhile\, change gradually with the tim e of day\, infusing the plants' silhouettes with a complex range of impress ionistic moods. As the plants grow over the course of the exhibition\, gree n emerges from beneath the black paint\, a reminder that natural forces bey ond our control are ultimately responsible for what we see and how we see i t.

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The work of Andrew Dadson (b. 1980 ) has been the subject of the solo exhibitions \;Over the Sun\, Vancouver Art Gallery\, British Columbia (2015) and \;The Br ink\, Henry Art Gallery\, Seattle (2012). Recent group exhibitions i nclude \;Material Traces: Ti me and the Gesture in Contemporary Art\, Galerie Leonard &\; Bina Ellen\, Université\; Concordia\, Montreal\; \;Again and Again and Again\, Vancouver Art G allery\, British Columbia\; \;Phantasmagoria\, Presentation House Gallery\, Vancouver\, British Columbia\; \;WYSIWYG: What Y ou(ngs) See Is What You Get\, Rosenblum &\; Friends Collection\, Paris\; \;Without You I'm No thing\, Museum of Contemporary Art\, Chicago\; \;Che cosa sono le nuvole? Works from Enea Righi Collection\, Museion\, Bolzano\, Italy\; \;Summer Projects\, Olympic Sculpture Park\, Sea ttle Art Museum\; and \;Noth ing to say and I am saying it\, Kunstverein Freiburg\, Germany. He l ives and works in Vancouver\, British Columbia.

DTEND:20150711 DTSTAMP:20150525T133501 DTSTART:20150529 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:Painting (Organic)\, Andrew Dadson UID:384699 END:VEVENT BEGIN:VEVENT DTEND:20150529T200000 DTSTAMP:20150525T133501 DTSTART:20150529T180000 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:Painting (Organic)\, Andrew Dadson UID:384700 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Beginning with the American No mads Project\, the Bunny Sandwich Collective has responded to the likelihoo d of climate change with a series of proposals which enable a more migrator y lifestyle. They craft the tools and narrative imagery to allow us to comf ortably imagine life in new circumstances.

In FLOATING EDGE the two deviate from their typically collaborative practice and individually ex plore the literal and metaphoric meanings of &lsquo\;border crossings&rsquo \; as a route towards change of identity and purpose. Their research reveal s a complex relationship towards travel and cultural transmission\; the nee d for shelter housed in worn clothing and for history held not in libraries but instead contained within the body.

Cori&rsquo\;s work for F LOATING EDGE approaches the external necessities for crossing borders. Usin g a variety of camouflage for different geographic entryways\, she creates ensembles that address the importance of rapid movement and basic shelter. Her clothing considers the competing need to be seen as Belonging\, or as O ther\, and offers real questions about history&rsquo\;s mercurial relations hip with migration. Sandra&rsquo\;s paintings and wool constructions for FL OATING EDGE take on abstract and symbolic form while they imagine multiple centers populated with geometric shapes &ndash\; crisp borders merge with a tmospheric skies\, archetypal characters and radial symmetry to create a fa ntastical landscape suggestive of imminent change.

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Individually\, the projects differently point towards forging new lives on the move. Together\, the parts align and a larger whole emerg es &ndash\; a whole committed to unencumbered movement within a deeply root ed vision for the future.

East Coast contact
: \;Cori Cham pagne \;
West Coast contact: \;Sandra Oberdorfer

DTEND:20150614 DTSTAMP:20150525T133501 DTSTART:20150523 GEO:34.1102951;-118.1973971 LOCATION:Monte Vista\,5442 Monte Vista Street \nLos Angeles\, CA 90042 SEQUENCE:0 SUMMARY:Floating Edge by the Bunny Sandwich Collective UID:384697 END:VEVENT BEGIN:VEVENT DTEND:20150523T210000 DTSTAMP:20150525T133501 DTSTART:20150523T180000 GEO:34.1102951;-118.1973971 LOCATION:Monte Vista\,5442 Monte Vista Street \nLos Angeles\, CA 90042 SEQUENCE:0 SUMMARY:Floating Edge by the Bunny Sandwich Collective UID:384698 END:VEVENT BEGIN:VEVENT DESCRIPTION:

BRASS (or the order in which t hey present themselves)

While on a road trip in Minnesota\, I fo und a brass elephant in a second-hand store. It spoke to me like objects te nd to do on occasion. The elephant traveled with me back to California and years later initiated the Brass series of 18 X 24" paintings. The brass obj ects appear to be on a horizon line or a tight-rope. One view is grounded w here the other view is precarious. Initially I did not see the elephant pai nting as part of a series\, but new brass objects keep appearing\, like the brass Magi. He is part of my nativity scene that friends bought in a hardw are store in Mexico. I unpack the scene every Christmas. After Christmas\, I repack the decorations for storage. Somehow\, the wise-man fell on the fl oor and didn&rsquo\;t get re-packed with the group. I imagined that he is t he one carrying the gift of gold. After I painted the Magi\, a brass pig ap peared. While visiting my brother and his wife in Sun City\, Arizona\, I fo und it on their bookshelf. Their granddaughter had wanted a real pig as a p et. As an alternative\, they had bought her the brass pig.


NINE BY TWELVE

For me\, the ink has an expression of exploratio n and mystery when there are chemical reactions that can surprise. This mom ent can then serve as a background or an incentive for a narrative or subje ct&mdash\;the subject being a vessel for a particular moment. It was my int ention to commit to the 9 X 12 format so as not to be distracted by choices of scale. The seasons in which the ink paintings were made are reflected i n the colors. Copper in fall\, blue or grey in winter\, pink in spring\, go ld in summer. Gold always. \;

DTEND:20150711 DTSTAMP:20150525T133501 DTSTART:20150530 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Maybe\, Nancy Monk UID:384695 END:VEVENT BEGIN:VEVENT DTEND:20150606T180000 DTSTAMP:20150525T133501 DTSTART:20150606T160000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Maybe\, Nancy Monk UID:384696 END:VEVENT BEGIN:VEVENT DESCRIPTION:
thoughts on my life and art< br />

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i dont know why people think being an artist is so much fun does trying to save your life everyday sound like fun

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not being understood and feeling out of place in the world makes me sad and lonely.
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the words i employ an d images i conjure in my work are my only chance for salvation.

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because i am unhireable my comit tment to art is unwavering

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while the whole world is trying to think outside the box\, live off t he grid\, do something spontaneous and live a life of adventure i would giv e anything to be safe inside that box with a little bit of heat\, something to eat and a smidgen of routine security. \;


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xo md \;
DTEND:20150711 DTSTAMP:20150525T133501 DTSTART:20150530 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:I Thought California Could Save Me\, Michael Deyermond UID:384693 END:VEVENT BEGIN:VEVENT DTEND:20150606T180000 DTSTAMP:20150525T133501 DTSTART:20150606T160000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:I Thought California Could Save Me\, Michael Deyermond UID:384694 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On \;Saturday\, June 13th at 4pm \;the gallery will host a conversation between \;Clarissa To ssin and Michael Ned Holte in conjunction with the book release for \;T ossin&rsquo\;s first publication\,Unmapping the World\, including works from 2009&ndash\;2015.

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Clarissa Tossin (Porto Alegre\, Brazil\, 1973) lives and works in Los Angeles. She received an M.F.A. from the California Institute of the Arts in 2009 and wa s a Core Fellow at the Museum of Fine Arts Houston from 2010 to 2012. Her m ultimedia installation \;Brasí\;lia\, Cars\, Pools and Other Modernities \;has been recently featured in the Hammer Museum&rsqu o\;s Biennial \;Made in L.A. \;2014. In early 2015\, the v ideo installation \;Streamlined: Belterra\, Amazô\;nia / Alber ta\, Michigan \;was the subject of a solo exhibition at the Museum of Latin American Art\, Long Beach. Group exhibitions include \;Un settled Landscapes \;at SITE Santa Fe\, New Mexico (2014)\; \; Bringing the World into the World \;at The Queens Museum\, New York (2014) and \;When Attitudes Became Form Become Attitudes  \;at CCA Wattis Institute\, San Francisco\, and Detroit&rsquo\;s Museu m of Contemporary Art (2012&ndash\;2013). She has received a California Com munity Foundation Fellowship (2014)\, an Artists&rsquo\; Resource Completio n Grant (2013)\, and an Artistic Innovation Grant (2012)\, both from the Ce nter for Cultural Innovation.

DTEND:20150613T170000 DTSTAMP:20150525T133501 DTSTART:20150613T160000 GEO:34.033969;-118.377335 LOCATION:Samuel Freeman\,2639 South La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:In Conversation with Michael Ned Holte\, Clarissa Tossin UID:384692 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150702 DTSTAMP:20150525T133501 DTSTART:20150527 GEO:33.984684;-118.4706679 LOCATION:L.A. Louver\,45 North Venice Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Sculpture\, Tony Cragg\, Richard Deacon\, Sui Jianguo\, Joel Shapir o\, Peter Shelton\, Matt Wedel UID:384688 END:VEVENT BEGIN:VEVENT DTEND:20150527T210000 DTSTAMP:20150525T133501 DTSTART:20150527T180000 GEO:33.984684;-118.4706679 LOCATION:L.A. Louver\,45 North Venice Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Sculpture\, Tony Cragg\, Richard Deacon\, Sui Jianguo\, Joel Shapir o\, Peter Shelton\, Matt Wedel UID:384689 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Vitality and Verve: Transf orming the Urban Landscape \;examines the current developments in the growing field of urban contemporary art. It will feature site-specific ephemeral murals and multi-media installations by established and emerging cutting-edge artists who will be demonstrating the skilled and nuanced appl ication of their craft.

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Vitality and Verve \;aims to illuminate the sensory value and powerful prac tice of these artists as they transform the urban landscape around them. Th e meticulous renderings\, the hyper-realistic imagery and patterns and the gestural strokes assert the diversity in a fully immersive experience. Part icipating artists will include: Aaron Horkey\, Alex Yanes\, Andrew Schoultz \, Audrey Kawasaki\, Brendan Monroe\, Brandon Shigeta\, Cryptik\, Esao Andr ews\, Greg &lsquo\;Craola&rsquo\; Simkins\, Hot Tea\, James Bullough\, Jeff Soto\, John S. Culqui\, Low Bros\, Meggs\, Nosego\, Nychos\, Saber\, and T ristan Eaton.

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The \;Vitality and Verve \;exhibition will be one of several locations in Long Be ach this summer that will feature mural art. \;POW! WOW! Long Beach 2015\, celebrates an inaugural art festival that will feature mural p rojects\, gallery shows\, and exciting programming &ndash\; throughout down town and nearby locations\, which is slated to run the week of June 22 &nda sh\; June 28 featuring internationally renowned artists. \;Vitality and Verve \;was made possible in collaboration with Thinkspace an d Pow! Wow!

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In conjunction with the o pening of the \;Vitality and Verve \;exhibition\, the muse um will also be hosting its famed LBMA After Dark on Friday\, June 26 from 7pm &ndash\; 10pm located on the museum campus. Admission is $10 for non-me mbers.

DTEND:20150927 DTSTAMP:20150525T133501 DTSTART:20150626 GEO:33.763173;-118.166784 LOCATION:Long Beach Museum of Art\,2300 East Ocean Blvd. \nLong Beach\, CA 90803 SEQUENCE:0 SUMMARY:Vitality and Verve: Transforming the Urban Landscape\, Greg 'Craola ' Simkins\, Aaron Horkey\, Alex Yanes\, Andrew Schoultz\, Audrey Kawasaki\, Brendan Monroe\, Brandon Shigeta\, Cryptik\, Esao Andrews\, Hot Tea\, Jame s Bullough\, Jeff Soto\, John S. Culqui\, Low Bros\, Meggs\, Nosego\, Nycho s\, Saber\, Tristan Eaton UID:384686 END:VEVENT BEGIN:VEVENT DTEND:20150626T170000 DTSTAMP:20150525T133501 DTSTART:20150626T110000 GEO:33.763173;-118.166784 LOCATION:Long Beach Museum of Art\,2300 East Ocean Blvd. \nLong Beach\, CA 90803 SEQUENCE:0 SUMMARY:Vitality and Verve: Transforming the Urban Landscape\, Esao Andrews \, Low Bros\, James Bullough\, Cryptik\, John S. Culqui\, Tristan Eaton\, A aron Horkey\, Audrey Kawasaki\, Meggs\, Brendan Monroe\, Nosego\, Nychos\, Saber\, Andrew Schoultz\, Brandon Shigeta\, Greg 'Craola' Simkins\, Jeff So to\, Hot Tea\, Alex Yanes UID:384687 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150620 DTSTAMP:20150525T133501 DTSTART:20150516 GEO:34.0336485;-118.376251 LOCATION:Luis De Jesus Los Angeles\,2685 S. La Cienega Blvd. \nLos Angeles\ , CA 90034 SEQUENCE:0 SUMMARY:Project Space: New Photographs\, Chris Engman UID:384685 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Please join \;ACME. \;and \;The Pit \;f or the launch of the very first issue of Merkel Magazine from 6-8pm\, Thurs day\, May 28 at ACME. 6150 Wilshire Blvd\, Los Angeles\, CA 90048. \;
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The 28 page magazine is edited by Mat t Merkel Hess. \; The magazine is the latest limited-edition\, Risograp h-printed artist book from The Pit. \; Printed in an edition of 100\, M erkel Magazine will be available for $15 each at the launch party and via t he online shop \;here. The first 10 copies sold at the lau nch party will include a free pancake print by Matt Merkel Hess! Other prod ucts advertised in the magazine will also be for sale.
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Matt Merkel Hess' \;UR Me rkel exhibition \;at ACME. will be up through Saturday\, May 30.\n
DTEND:20150528T200000 DTSTAMP:20150525T133501 DTSTART:20150528T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Merkel Magazine Launch Party\, Matt Merkel Hess UID:384684 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The 40 and 1 Nights\, or Jess&rsquo\;s Didactic Nickelodeon [1955]\, [consists] of a short film that Jess made in collaboration with experimental film maker Lawrence Jorda n (born 1933)\, whose collage animations and films chimed with\, and were i nspired by\, the works of Jess. The collaboration began in 1956 when Jordan filmed a collage suite by Jess made the previous year. [This collage suite was thought to be lost until it resurfaced in 2014]. In The 40 and 1 N ights\, forty-one images of Jess's paste-ups appear in rapid succes- s ion. each accompanied by a corresponding snippet of music and ambient sound chosen by Jess\, such as the voice of Irish novelist James Joyce\, whose r adicallyfractured textual narratives paralleled his own visual experiments. " -Nicholas Cullinan\, May 2010 \;

DTEND:20150627 DTSTAMP:20150525T133501 DTSTART:20150606 GEO:34.093196;-118.338969 LOCATION:Kohn Gallery\,1227 N. Highland Avenue \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Jess's Didactic Nickelodeon & Lawrence Jordan Film & Collages\, Jes s\, Lawrence Jordan UID:384682 END:VEVENT BEGIN:VEVENT DTEND:20150606T200000 DTSTAMP:20150525T133501 DTSTART:20150606T180000 GEO:34.093196;-118.338969 LOCATION:Kohn Gallery\,1227 N. Highland Avenue \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Jess's Didactic Nickelodeon & Lawrence Jordan Film & Collages\, Jes s\, Lawrence Jordan UID:384683 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ruth Bachofner Gallery is plea sed to present our inaugural exhibition of new work by Los Angeles-based ar tist \;Gretel Stephens. There will be a reception for the artist on Saturday\, June 6\, 5-7 PM.

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Throughout the course of her career\, Gretel Stephens has navigated sp atial and figurative relationships within abstraction. As the formal center of her work shifts with each body of work\, her interest in scale\, space and material integrity remain consistent. All of her work comes from carefu l consideration of subtlety and small gestures that ultimately present them selves with a luminous presence - whether she is considering movement withi n softly rounded forms on the verge of melting into smoky grounds\; or her more minimal works\, whose soft edges brim with inner light\; or more cosmi c-centered imagery that appears to capture dramatic cosmic explosions.

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For this new body of work\, Stephens cont inues her process of dry-brushing layers of oil paint over linen surfaces. Numerous thin applications of paint allow the surfaces to remain open and p enetrable\, but always with subtle shifts and visual vibration. The artist refers to her palette in terms of birthstones: topaz\, moonstone\, sapphire \, etc. The hardness that the reference to stone conjures\, and the vast ac cumulations of paint involved in the production of the work belies the ulti mate levity of Stephens' gently shimmering colorfields. While the paintings are generated with a focus on material relationships\, the paintings consi der both physical and conceptual limits and ephemerality. The radiance of t he work induces metaphorical readings\, while allowing access to infinite p ermutations within color. \;

DTEND:20150718 DTSTAMP:20150525T133501 DTSTART:20150606 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Reflections\, Gretel Stephens UID:384678 END:VEVENT BEGIN:VEVENT DTEND:20150606T190000 DTSTAMP:20150525T133501 DTSTART:20150606T170000 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Reflections\, Gretel Stephens UID:384679 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ruth Bachofner Gallery is plea sed to present Dreamscape\, an exhibition of new work by New York-based art ist Laura Fayer. There will be a reception for the artist on Saturday\, June 6\, 5-7 PM.

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Laura Fayer's mixed media paintings are inspired by observations of landscapes\, nature\, and impressions from daily observances. Fayer approaches her work with a loose sense of structure that is interjected with intuition. Beginni ng with aqueous pools of color\, she slowly builds each painting using succ essive layers of media. Acrylic washes are overlayed with collaged rice pap er markings inspired by ordinary objects and experiences\; branches\, shado ws on sidewalks\, pooled water and foliage inform her pattern-making\, whic h she creates using hand-made printmaking tools.

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Without a preconceived notion of how the paintings will resolve \, Fayer allows her imagery to gradually emerge. By building successive lay ers of media\, Fayer allows certain areas to recede beneath veils of rice p aper\, and embraces imperfections and accidental relationships. Areas of ri ce paper are allowed to wrinkle and jostle\, while others are kept crisp an d map-like. Fayer's marks slowly gather into gently undulating compositions \, resulting in a series of paintings that offer levels of interpretation\, but are ultimately defined by impermanence\, visual economy and intimacy.< /p>\n

&ldquo\;I participate in a delicate b alancing act between creating something complete and ordered\, with leaving just enough imbalance and disorder to give the work a subtle beauty\,&rdqu o\; the artist states. &ldquo\;This allows the viewer to experience the mov ement\, rhythm and ambiguous transitions as the painting comes together as an embodiment of naturalistic form.&rdquo\;

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Laura Fayer is a graduate of Harvard University in Visual and Enviro nmental Studies and holds an MFA in painting from Hunter College in New Yor k City. She lives and works in New York City.

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DTEND:20150718 DTSTAMP:20150525T133501 DTSTART:20150606 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Dreamscapes\, Laura Fayer UID:384676 END:VEVENT BEGIN:VEVENT DTEND:20150606T190000 DTSTAMP:20150525T133501 DTSTART:20150606T170000 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Dreamscapes\, Laura Fayer UID:384677 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Thinkspace&n bsp\;is pleased to present \;Beautiful Noise\, the gallery's f ourth solo exhibition for Japanese artist Yosuke Ueno. A self-taught painte r\, Ueno has been creating fantastic worlds and characters as long as he ca n remember. Highly stylized and beautifully imaginative\, his works are sur real and emotional\; an alternate reality expressed through a quasi-mytholo gical orbit of his own making. Like tightly knit universes unto themselves\ , his bizarre and wonderfully unhinged worlds feature a recurring cast of c haracters and repeated motifs. An intensely emotive painter who\, by his ow n admission\, allows his cathartic approach to dictate the development of h is works as they're made\, Ueno's take on pop surrealism is at times explos ive and at others meditative\, but is consistently seeking the reconciliati on of darkness and whimsy.  \;
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Inspired by Japanese graphic cultures such as manga and anime\, an d drawing on the unique stylization of Japanese street fashion\, Ueno's gra phic paintings are galvanized by his love of visual culture. Channeling bot h anger and optimism in the creation of his creatures and surreal landscape s\, he seeks the transformation of the negative by invoking hope and positi vity through his imagery\, even when it betrays trauma and distress in equa l parts. Ueno approaches painting as a communicative conduit\, and as somet hing powerfully invested with the capacity to make people feel. Because of this implicit responsibility\, he has actively sought love and redemption i n his imagery rather than indulging in destruction and sadness. Painting is a process of discovery for Ueno\, one that he likens to scientific experim entation and unknown variables. He allows his paintings to evolve intuitive ly\, not knowing what the end result will be. \;
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His interest in striking a balance betwee n light and dark imagery is immediately apparent in some of his more recent works. These manage to reconcile the suggestion of sweetness and innocence with the presence of something more sinister and foreboding. Wide-eyed\, p lushy\, rainbow-colored characters are offset by skulls and abject anatomic al references\, and cotton candy landscapes are punctuated by the suggestio n of something harder and menacing\, or deeply melancholic. Despite a recur ring invocation of love and hope that verges at times on a plea\, the works clearly convey the coexistence of often irreconcilable oppositions. Ueno h as spoken openly about how his work and imagery were greatly affected by th e earthquake\, and resulting Tsunami\, that devastated Japan in 2011\; an e vent that has left an indelible trauma on its culture. His work\, following this tragedy\, became less about his omission of negativity\, and more abo ut his attempt to summon love and hope in its midst. \;

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The multiplicity of characters in Ue no's works\, and there are over a thousand\, hails from the artist's connec tion to Japanese Shinto\; the polytheistic spiritual tradition in Japan tha t reveres the greatness in all small things in nature\, and seeks the prese nce of the divine in the minute. In this belief system\, there are millions of individual god figures\, a veritable plethora of characters and personi fied energies for even the smallest of natural elements. Each individual pa rt is as important as the whole. This spiritual pluralism is woven througho ut Ueno's work\, as the artist builds complex symbolic systems\, holistic w orlds and recurring metaphors to reinvent a personal spiritual iconography.  \;

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Yosuke Ueno's works\, though beautiful\, contemporary and graphic\, are loaded with a sy mbolism that betrays the artist's deeper spiritual connection to making. Gi ving his imagination free rein to create on impulse\, Ueno builds a surreal cosmos with infinite possibilities.

DTEND:20150613 DTSTAMP:20150525T133501 DTSTART:20150523 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Beautiful Noise\, Yosuke Ueno UID:384664 END:VEVENT BEGIN:VEVENT DTEND:20150523T210000 DTSTAMP:20150525T133501 DTSTART:20150523T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Beautiful Noise\, Yosuke Ueno UID:384665 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Concurrently on view in the Thinkspace pro ject room are new works by Ariel DeAndrea in \;Chasing the Current< /em>. Working primarily in oils on linen\, DeAndrea's paintings are beautif ully serene expanses of water\, gently travelled by delicate paper birds. B y focusing on the recurring symbol of the origami paper crane\, a talismani c object she reiterates in several aquatic contexts\, the artist emphasizes the power and beauty of its unassuming simplicity. In a precisely realisti c and understated style\, DeAndrea renders the paper birds in a variety of patterns and colors\, and stages them in open fields of rippling water. DeA ndrea creates a stunning repertoire of images by exploring the subtle movem ent and variety in these repetitions. Not unlike hazy dreamscapes\, her wor ks feel intensely personal and heavy with meaning\, conveying a feeling of arrested calm that borders on the uncanny at times. We are left with the fe eling of having witnessed something simultaneously quiet and intensely poig nant.
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These inanimate objects become vessels for meaning that fa r exceeds their tangible significance. Vulnerable and beautiful\, something ephemeral haunts the impermanence of the fragile paper bird. Finding resil ience and beauty in small\, humble things is a concept DeAndrea derives fro m her interest in the Japanese spiritual tradition of Shinto\; a tradition that upholds the spiritual value of nature. By placing the little paper lik enesses back into a depiction of the natural world\, DeAndrea offers a powe rful visual metaphor for a spiritual communion with nature.
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DTEND:20150613 DTSTAMP:20150525T133501 DTSTART:20150523 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Chasing the Current\, Ariel DeAndrea UID:384662 END:VEVENT BEGIN:VEVENT DTEND:20150523T210000 DTSTAMP:20150525T133501 DTSTART:20150523T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Chasing the Current\, Ariel DeAndrea UID:384663 END:VEVENT END:VCALENDAR