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101 /exhibit Los Angeles presents Paintings \, a solo exhibition from Jorge Santos inclu ding seven momentous works ranging from 2010-13. This is the artist’s first solo showing with the new Los Angeles gallery space\, which opened in Octo ber of 2012. The opening reception with the arti st will be held on Saturda y\, April 13 from 7 – 10 pm. The exhibition will c onclude on June 15. The gallery is located at 8920 Melrose Avenue at the intersection of Melrose an d North Almont Drive.

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Jorge Santos paintings are a profound displa y of picture making for the sheer purposes of formulating an all but transp arent narrative via highly technical draftsmanship and paint handling. As a self-taught a rtist\, the e volutionary process of his work is often subje ct to reconfiguration\, repositioning\, and refinement until the grand conc lusion is met. Narrative is of such importance that even compositional conc erns may be subordinate to the inclusion of a necessary motif in the storyl ine.

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One may recall the Latin term “dues ex machina\,” which is a liter ary device used to resolve a troubled plot. In Engl ish\, this translates t o “God out of the machine.” It refers to an unexpected\, artificial\, or im probable character\, de vice\, or event intro- duced suddenly in a work of fiction to untangle a plot. For instance\, consider the artist’s 2012 work entitled Maitre D where a fork between one of the dinner participa nt’s toes is tied by string to a wine bottle in the foreground thus prevent ing it from crashing to the f loor. How or why did this happen? This whimsi cal instance is the result of a mid-production decision to reposition compo sitional elements in order to resolve the foreground in a more provocative way without having to repaint the bottle.

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This almost humorous result o ften surfaces in a Santos work\, as for the artist\, there are little rules he truly feels the need to play by. Paintings for the arti st e xist as a cocktail of source materials\, from still life to imagery of the mind’s eye . They are not pre-assembled sets such as that of the Realist painter\, and any “photo realist” instances are purely the result of the artist’s skill to portray a likeness. In fact\, the ambient lighting and elongated figures are more stylized than authentic\, echoing the Italian Mannerist painters of the 16 th century.

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 Though highly refined and emotive\, a Santos pain ting may have a poetic title but this is not a necessity\, it’s just by way of the artist’s improvisational nature. He seems to be commenting on pop c ulture\, derives source material from TV\, Internet videos\, and other mass media but is humble and quite reluctant to be billed as a social critic. I n his pictures\, settings come off as irrational or precariously balanced\, moods are secretive\, illusory\, and often ambiguous but there is no argum ent to their blatant allure and charm over the viewer. These complexities m ay seem to deliberately provoke interpretation but Santos will only enterta in his personal opinion that he is simply an image-maker.

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Born in 1959\ , Jorge Santos is of Portuguese descent. His childhood was spent in Luanda\ , Angola before his family fled to Lisbon\, Portugal in order to escape a v iolent political agenda. As Portugal sunk into its own re volution\, Santos relocated to the United States in 1982. Through out these years\, the arti st consistently honed his draftsmanship as a form of escape from life’s unr est. Particularly str uck by an Odd Nerdrum show at Forum Gal lery\, NY in the 90s\, Santos began to experiment with and use paint thereafter.

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Jorge Santos has exhibited previously with 101/exhibit for a solo show in Miami in 2010 . He has participated in over 20 solo and 70 group exhibitio ns at numerous galleries\, museums\, and fine art fairs since 1986 includin g the Laguna Beach Art Museum in Laguna Beach\, CA\; the Joslyn Art Ce nter Gallery in Torrance\, CA\; Art Miami\, Miami\, FL\; Art Platform\, Santa M onica\, CA\; Art Chicago\, Chicago\, IL\; SCOPE\, Miami\, FL\; and Art Los Angeles Contemporary and George Billis Gallery in Los Angeles\, CA.

DTEND:20130615 DTSTAMP:20141221T195449 DTSTART:20130413 GEO:34.0807161;-118.3873912 LOCATION:101/exhibit\,8920 Melrose Avenue \nWest Hollywood\, CA 90069 SEQUENCE:0 SUMMARY:Paintings\, Jorge Santos UID:266872 END:VEVENT BEGIN:VEVENT DTEND:20130413T220000 DTSTAMP:20141221T195449 DTSTART:20130413T190000 GEO:34.0807161;-118.3873912 LOCATION:101/exhibit\,8920 Melrose Avenue \nWest Hollywood\, CA 90069 SEQUENCE:0 SUMMARY:Paintings\, Jorge Santos UID:266873 END:VEVENT BEGIN:VEVENT DESCRIPTION:

1301PE is pleased to announce its fifth solo exhibition with Los Angeles based artist Kirsten Everberg. In her latest body of work\, Everberg continues her exploration of t he subjective nature of perception.
 
Everberg's paintings of emp ty interiors and unpeopled landscapes enter into a dialogue with one anothe r\, as motifs repeat and transform like recollected memories. She views the works in this exhibition as part of a circular\, non-linear narrative that can be entered at any point. In this respect\, her paintings reference a f luid cinematic space. More than simply illustrating specific scenes or fram es\, however\, these paintings uncover the persuasive power that images hav e to construct reality.
 

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"Ulti mately\, the works point to how images are framed\, archived\, and recalled by the viewer. The hazy edges and blurry lines of Everberg's paintings and works on paper seem clearly focused on the mediation of images within the broader landscape of visual culture."  – Gloria H. Sutton\, "Surface Effect s: Mediating Image Culture in the Paintings of Kirsten Everberg"

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It is Everberg's seductive surfaces th at first capture our gaze. Using a unique combination of oil and enamel pai nt\, her works hover between representation and pure paint. There is always a tension here between the convincing depiction of space\, and the abstrac t skeins of color that dance across the canvas. What appears to be an histo ric ballroom or dense jungle from far away\, is reconfigured into glossy po ols of paint close-up. Everberg's mastery of her medium is demonstrated by how deftly she walks this line. Narrative and image\; truth and fiction\; s urface and what lies beneath – are all woven together in Everberg's captiva ting works.

Kirsten Everberg lives and works in Los Angeles. She has had recent solo exhibitions at the Pomona College Museum of Art\, CA a nd the Scottsdale Museum of Contemporary Art\, AZ. She has been included in exhibitions at several international institutions including FRAC Champagne -Ardenne\, Reims\, France\; Le Consortium\, Dijon\, France\; Vancouver Art Gallery\, Vancouver BC\, Canada\; Museum of Contemporary Art\, Los Angeles\ , CA\; Hammer Museum\, Los Angeles\, CA\; and Musée des beaux-arts\, Nancy\ , France.

DTEND:20130629 DTSTAMP:20141221T195449 DTSTART:20130504 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kirsten Everberg UID:271664 END:VEVENT BEGIN:VEVENT DTEND:20130504T200000 DTSTAMP:20141221T195449 DTSTART:20130504T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kirsten Everberg UID:271665 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Public Drawing Days: Every Monday\, Wednesday\, Friday an d Saturday from 11am until 3pm\, April 15 - May 31\, 2013 (ongoing)

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Forêt Intérieure/Interior Forest is a dual-venue exhi bition and publication by Los Angeles-based artist Alexandra Grant in colla boration with Paris-based writer Hélène Cixous. This multi-dimensional proj ect\, which includes a residency component and contributions by both Los An geles-based and Paris-based artists\, is presented from April 15 to June 28 \, 2013 at 18th Street Arts Center in Santa Monica\, CA and from September 6 to October 20\, 2013 at Mains d’Oeuvres in Saint-Ouen\, France. Pilar Tom pkins Rivas\, Curator and Director or Residency Programs at 18th Street Art s Center\, and Isabelle Le Normand\, Curator of Visual Arts at Mains d’Oeuv res\, are co-organizers of this project.

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Project background

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Several years ago\, the iconic French author\, poet\, playwright an d philosopher Hélène Cixous gave Grant one of her books\, Philippines\, as a source for imagery and entreated the artist to make work about t he concepts present in the text.  Philippines is based around the story of Peter Ibbetson\, a novel by Georges du Maurier\, where two childhood friends are separated by class and country and reunite as adults in their shared dream-life.  The themes of Philippines are often paired: dreaming and reality\; telepathy and empathy\; the “perfe ct other\;” the shape of two nuts found in a single mandorla or almond (kno wn as a Philippine)\; and relationships between north and south\, man and w oman\, colony and colonizer\, and adult and child.

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Grant’s response to C ixous and Philippines is the project Forêt Intérieure/Inte rior Forest centering on the image of a forest as a representation of both the shared imagination and a place for congregation and collaborat ion.  Forêt Intérieure/Interior Forest includes a large-sc ale installation of a forest and a collaborative drawing that invites commu nity participation. Trees in the interior forest will be made of both text and textiles. The drawing\, functioning both as an illustration and a text scroll\, represents a visual narrative of Philippines. Created by Grant in conjunction with other artists and members of the public\, the pro cess of working jointly invites contemplation of Cixous’s concepts and deve lops a platform for shared imagining. The two iterations of the installatio n in both Santa Monica and Saint Ouen function as mirror images\, or twin v ersions of the same whole.

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Collaboration with others/Artists Res idencies

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Grant has created two ways for Los Angeles-based and P aris-based artists to participate in her project. First\, collaborating art ists are invited to produce “Visiting Trees” (Arbres d’Ailleurs) i nside the Forêt Intérieure/Interior Forest installation in either city. Second\, Grant has established “Drawing Residencies” as part of the process of creating the large-scale drawing. Artists are invited to lead the public\, including students\, guests and passersby\, in 3-hour gui ded sessions\, helping to realize the larger work. Participants to date in the project at 18th Street Arts Center creating “Visiting Trees” include Ch anning Hansen\, Bari Ziperstein\, Annelie McKenzie and Tina Linville\, and participants in the “Drawing Residencies” include Steve Roden\, Renee Petro poulos\, Lita Albuquerque and Audrey Cottin.

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Programming

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At 18th Street Arts Center\, Grant and USC professor Robert Nashak wil l host a reading group beginning in January 2013 for members of the Los Ang eles community interested in Cixous’s work.

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Programming at Mains d’Oeuvr es includes a public lecture by Hélène Cixous\, and a reading of Philip pines by Cixous’s long-term collaborator\, Daniel Mesguich\, an actor and director of the Conservatoire National Supérieur d’Art Dramatique.

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< strong>Publication

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18th Street Arts Center and Mains d’Oeuvres will co-publish an exhibition catalog documenting the mirror-image projects of Forêt Intérieure/Interior Forest and the collaborative nature of Grant’s work. Contributors to the publication include Alexandra Grant\, the curators Isabelle Le Normand and Pilar Tompkins Rivas\, Hélène Cixous\, Grant’s long-term collaborator\, the hypertext pioneer Michael Joy ce\, and Los Angeles-based art critic Andrew Berardini. The full-color cata log is edited by John Farmer and designed by Jessica Fleischmann.

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For more information:

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www.foretinterieure-interiorforest.com

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Facebook: www.facebook.com/ForetInterieureI nteriorForest

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Twitter: @InteriorForest

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Or conta ct:

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Pilar Tompkins Rivas

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ptompkins@18thstreet.org

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18th S treet Arts Center

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1639 18th Street

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Santa Monica\, CA 90404\ , USA

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www.18ths treet.org

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Isabelle Le Normand

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isabellelenormand@me.com

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Mains d’Oeuvres

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1\, rue Charles Garnier

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93400 Saint-Ouen\, FRANCE

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www.mainsdoe uvres.org

\n DTEND:20130628 DTSTAMP:20141221T195449 DTSTART:20130415 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Forêt Intérieure/Interior Forest\, Alexandra Grant UID:268075 END:VEVENT BEGIN:VEVENT DTEND:20130601T200000 DTSTAMP:20141221T195449 DTSTART:20130601T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Forêt Intérieure/Interior Forest\, Alexandra Grant UID:268076 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Martin Schoeller has earned a reputation as one of the pre-eminent portr ait photographers of our time\, having photographed subjects from President Barack Obama to numerous actors\, musicians and sports icons\, to indigeno us Amazonian tribesmen and women. With characteristic intimacy\, Schoeller’ s hyper-detailed work presents the prominent and unknown side by side\, in unequivocal terms.

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Consistently shooting each of his subjects in his singular crisp style\, Schoeller equalizes these photographic subjects in facial close-ups. As he states: “A photographic close-up is perhaps the purest form of portraiture\, creating a confrontation between the viewer an d the subject that daily interaction makes impossible\, or at least impolit e. In a close-up\, the impact stems largely from the static subject’s expre ssion or apparent lack thereof\, so the viewer is challenged to read a face without the benefit of the environmental cues we naturally use to form our inter-personal reactions.”

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In 2011\, when National Geographic magazine commissioned him to shoot an assignment on twins\, he began w hat would become a year-long pursuit of the subject on an international sca le\, which has resulted in an expansive new body of work that is being exhi bited for the first time at Ace Gallery Beverly Hills and is the subject of his latest book. Presenting twins\, triplets and quadruplets\, his images bare nuanced comparisons\; the camera capturing the subtlest differences of division from a single fertilized human egg. The odds of identical quadrup lets being born are one in 11-13 million\, for identical triplets\, and one in 150\,000. Even when separated at birth\, identical twins maintain their genetic similarities. As ‘duplicated people’ they share exact copies of th eir genes\, questioning our notions of individuality and personal uniquenes s: “They embody sameness and symmetry in the human form as literally and pr ecisely as nature permits.” The parallelism of natural clones are represent ed in a new approach to well-known subject matter\, i.e. revisiting the sub ject of Diane Arbus’s classic  Identical Twins\, Roselle\, New Jersey\, (1967)\, where Schoeller consciously humanizes his subjects by revealin g the individual characteristics of each and treating each separately altho ugh posed in the same position.

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Now renowned for his hyper-detailed faci al Close-Up’s\, Schoeller gained professional experience working as assista nt to Annie Leibovitz from 1993-96. Steering away from fashion photography and its dependence on the whims of designers and its seasonal stylistic obs olescence\, Schoeller sought an alternative. It was during this pre-digital era\, before the days of retouching\, that he developed the style which wo uld become his trademark. He would spend days setting up lighting tests and experimenting in extreme close up to find the most flattering lighting sce narios – examining how light effects faces\, and refining techniques in the dark room\, darkening and lightening certain areas. Even in his photograph y school days\, his pictures with homeless people were also in close-up. As he began to articulate his own close-up portrait aesthetic in the mid-1990 s\, his peers were producing extreme glamour and beauty shots with over-the -top production values (paramount being Leibovitz’s lavish sets i.e. for Vanity Fair or David LaChappelle). Schoeller’s work was the opp osite of what others were doing at the time: modest and simple\; “just abou t the person.” Schoeller cites a variety of mentors and influences from Ric hard Avedon to Philip-Lorca diCorcia\, yet singles out seminal German photo graphers Bernd and Hilla Becher - recognized for creating a formally auster e and consistent motif in their typologies of industrial structures. The re petition of similar but related subject matter - such as water towers and g as tanks - in the Becher’s work invites comparison\, and was adopted as a m odel within which Schoeller could develop a similar approach.

\n< p style="text-align: justify\;">Twins Day Festival in Twinsburg\, Ohio\, the largest annual gathering of twins (and o ther “multiples”) in the world\, provided a grand-scale casting session for Schoeller’s project. Recruiting from over 2000 twins and multiples\, they were photographed in the same style as diptychs (and triptychs). In the stu dy of faces\, physiognomy - Schoeller came to the conclusion that “faces do n’t really reveal that much about a personality. You can’t really tell by a face necessarily what goes on in a person’s mind.” In the Twins series\, t he aging process comes to the fore. While each two are born with the same g enetic information\, the aging process due to leading possibly very differe nt lives\, creates visible divergences. It is those small differences which beg the question\, what can be told from looking at a face?

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Portraits h appen to lie\; they require decision-making on the part of the photographer . They are constructed\, manipulated\, posed and styled. Even with straight forward shots such as these\, there are multiple choices\, and Schoeller’s aim in taking intimate portraits requires rapport. There was no additional styling\; these twins arrived on set ‘as is’ – wearing the same outfits\, j ewelry\, hairstyles\, and makeup.

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Is Schoeller conscious of feeding back his imagery into our saturated media culture? There are many fashion photo graphers doing ‘portraiture’ lacking authenticity (given they inhabit the s ame commercial magazine space and conceived\, constructed\, and circulated in the same way as advertising photography). To specifically show non-celeb rity images in the context of Los Angeles\, Schoeller further provokes the cloning debate\, asking the question of whether genetic-engineering has man ifested the advent of twin culture. As he observes of the natural occurrenc e\, “We assemble impressions of and form mysterious attachments to universa l features – hairline\, forehead\, eyes\, nose\, mouth\, and chin. We take their arrangements to be unique. Identical twins dispute that assumption.”< /span>

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Martin Schoeller was born in Munich\, Germany in 1968\, stud ied photography at Lette Verein in Berlin\, and lives in New York. His work has appeared in The New Yorker\, Vanity Fair\, Entertainment Weekly\, R olling Stone\, TIME\, GQ\, Esquire and Vogue. He has been staff photographer at The New Yorker since 1999. Schoeller had a major sol o exhibition in 2010-11 at the National Portrait Gallery\, Australia\, and last exhibited at Ace Gallery Beverly Hills with Female Bodybuilders in 2008.

DTEND:20130629 DTSTAMP:20141221T195449 DTSTART:20130504 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:Identical: Portraits of Twins\, Martin Schoeller UID:270594 END:VEVENT BEGIN:VEVENT DTEND:20130504T210000 DTSTAMP:20141221T195449 DTSTART:20130504T190000 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:Identical: Portraits of Twins\, Martin Schoeller UID:270595 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Laurie Lipton's current drawing

recent painting s by Brian Wills

Dewain Valentine's historical resin sculpture s from 1968-1975

Robert Irwin's first column\, 1967

Mary Corse's first white\, first black\, and first glitter paintings

sculptures by Robert Wilson

Roy Lichtenstein's B rushstrokes Screen

Vincent Szarek's Heavy Bag

new paintings By The Date Farmers

Jay Mark Johnson' s Wave photograph

Helen Pashgian's wall sculptures

Ben Jones' video painting and ladder sculptures

DTEND:20130531 DTSTAMP:20141221T195449 DTSTART:20130504 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:A Rotating Exhibtion of Selected Artworks \, Laurie Lipton\, Brian Wills\, DeWain Valentine\, Robert Irwin\, Mary Corse\, Robert Wilson\, Roy Lichtenstein\, Vincent Szarek\, The Date Farmers\, Jay Mark Johnson\, Helen Pashgian\, Ben Jones UID:278022 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present an exhibition of recent wor ks by Jason Brinkerhoff\, Michelle Carla Handel\, and Damien Meade. All three artists' work reference bodily forms a nd sensual surfaces. Their work presents three different aspects of abstrac tion derived from the human body.

Jason Brinkerhoff will be exhibiting a selecti on of small works on paper that portray the female form elegantly abstracte d with curvilinear shapes and bold colors. Brinkerhoff creates his figures using graphite\, colored pencil\, wax pastel and collage elements onto foun d\, aged paper. The small drawings reference early Modernist painters and t he use of antique paper gives the works an overall patina. Jason Brinkerhof f is a self-taught artist that lives and works in Menlo Park\, California.< /span>

Michelle Carla Handel's sculptures are a smart balance of humor and sexuality. U sing a variety of materials such as silicone rubber\, urethane plastic\, fa bric\, plaster\, and wood\, her sculptures take on soft\, bulbous shapes th at reference human anatomy. While the plasticity of the forms and the flesh y colors make the sculptures very vulnerable and intimate\, Handel also jux taposes bright pops of color\, giving the sculptures a playful element. Mic helle Carla Handel received her MFA at Claremont Graduate University\, and she currently lives and works in Los Angeles\, California.

Damien Meade's painti ngs are richly layered spilling over the edges\, yet the surfaces are smoot h and sensuous. All the paintings are oil on linen over board. One grouping of paintings features simplified\, mysterious female silhouettes\, while a nother series of paintings depicts fleshy\, knotted networks. While the pai ntings are made up of satin-like brushstrokes\, the finished images seem to portray illusions of reflections possibly captured by color photography. D amien Meade received his MFA at the Chelsea College of Art in London. Born in Ireland\, Meade currently lives and works in London\, and exhibits his w ork internationally.

DTEND:20130601 DTSTAMP:20141221T195449 DTSTART:20130504 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Shape Shifters\, Jason Brinkerhoff\, Michelle Carla Handel\, Damien Meade UID:271668 END:VEVENT BEGIN:VEVENT DTEND:20130504T200000 DTSTAMP:20141221T195449 DTSTART:20130504T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Shape Shifters\, Jason Brinkerhoff\, Michelle Carla Handel\, Damien Meade UID:271669 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130601 DTSTAMP:20141221T195449 DTSTART:20130504 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Safetyville\, Miles Coolidge UID:278023 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:20141221T195449 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:20141221T195449 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:
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Anat Ebgi is pleased to announce Cl ean Title\, No Accidents\, Joe Reihsen’s seco nd solo exhibition with the gallery. The show will open on April 13\, and w ill be on view until May 25. A reception will be held at the gallery on Sat urday\, April 13\, from 6-8pm\, coinciding with the grand opening of the ne w gallery space located at 2660 La Cienega Blvd in Culver City.
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In Clean Title\, No Accidents\, Reihsen pushes t he boundaries of surface\, color\, and flexibility of paint. Reihsen employ s a performative method he describes as "capturing and intensifying the ear lier version."  The paintings are executed using pneumatic devices and comm ercial painting tools. As the paint dries\, the texture flattens and we are left with an impression of the original composition\; a variation of frott age. The result is an acidic rainbow of pigments\, creating optical illusio ns\, where shapes leap forward and lines vibrate.
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The paintings effectively embody a play between the hand\, machine\, and perception. The skilled application of paint feels as if they are made of another medium -- a Xerox print\, photograph\, or emulsion on film\, lea ving the viewer to wonder "how the f were these made?" The tension between the indistinguishable optical and organic forms triggers a hallucinatory af terimage that burns in the brain long after viewing.
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Joe Reihsen\, b.1979\, Blaine\, Minnesota\, lives and works in Los Angeles. Joe received his BFA in painting and New Genres at the San Franci sco Art Institute. In 2008\, Joe received an MFA from the University of Cal ifornia\, Santa Barbara\, where he was awarded the UC Regents Fellowship. I n May\, the gallery will present a solo presentation of Joe’s paintings at the NADA Art Fair in New York City.
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DTEND:20130525 DTSTAMP:20141221T195449 DTSTART:20130413 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Clean Title\, No Accidents\, Joe Reihsen UID:264028 END:VEVENT BEGIN:VEVENT DTEND:20130413T200000 DTSTAMP:20141221T195449 DTSTART:20130413T180000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Clean Title\, No Accidents\, Joe Reihsen UID:264029 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:20141221T195449 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:20141221T195449 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:

Angles Gallery is pleased to present Between Known and Unknown\, featuring new paintings by Linda Besemer\, Tony de los Reyes\, and Adam R oss.  The exhibition will be on view April 13th through May 18th w ith a reception for the artists on Saturday\, April 13th\, 6-8 PM.\n

Radical depictions of space have occupied painters for centuries \, alternately enhanced and hindered by the expansions and limitations of s cience and knowledge. Works by the three artists presented here confront th e viewer with related yet distinct strategies for depicting space and "spac e." The viewer will be challenged by optical illusions\, perceptual shifts\ , representational slippage\, and finally\, spatial levels that transform t he canvas into a transparent window\, the interplay of surfaces.

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Linda Besemer\, renowned for her deft use of colo r and geometric abstraction\, continues to refine her characteristic point of view that unites the color theories of 20th century modernism with the p lasticity of 21st century design. The complex simplicity of the optical eff ects vibrates and swells. Tony de los Reyes\, exhibiting a t the gallery for the first time\, confronts the viewer with a radical rein terpretation of the pouring and staining techniques that he has made so muc h his own for more than a decade. The new canvasses address absolute space transformed to abstract space that is contained and ordered\, yet tactile a nd provocative. Adam Ross is represented by a new body of work that returns to the intimate scale of his earlier years. Brimming with vast expanses of space and diminutive suggestions of architecture\, the gl ossy surfaces pull the viewer into a world of spectacular depth and clarity .

DTEND:20130622 DTSTAMP:20141221T195449 DTSTART:20130413 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Between Known and Unknown\, Linda Besemer\, Tony de los Reyes\, ADA M ROSS UID:269986 END:VEVENT BEGIN:VEVENT DTEND:20130413T200000 DTSTAMP:20141221T195449 DTSTART:20130413T180000 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Between Known and Unknown\, Linda Besemer\, Tony de los Reyes\, ADA M ROSS UID:269987 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:20141221T195449 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:20141221T195449 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 BEGIN:VEVENT DESCRIPTION:

Aran Cravey Gallery is pleased to present A to B\, a sol o exhibition of paintings and drawings from Los Angeles based artist Joe Ho yt.

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The paintings and drawings exhibi ted in the gallery depict various locations in Los Angeles and surrounding areas.

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The works capture the construc ted environment in which we live through the filter of memory and perceptio n\, revealing only the fragments that remain as our visual references. In t he six drawings presented\, the artist explores the Central Valley communit ies to be linked by the first phase of California's controversial new high- speed rail system. Below is a text by artist Amy Howden-Chapman based on Ho yt’s process of gathering imagery along this potential path.

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A to B is from here to there. 

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Movi ng from A to B is moving past a car into a dark bush. 

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A is walking to find a scene. A is finding a sce ne and observing the scene. 

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B is multiple points\, in ink on paper. B is A rendered in image. 

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A is the details of a stranger’s co lor- it is just there in front of you. You grow familiar with A. B is all y ou have left when A has left.

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A is abstraction\, B is representation\, and then there is moving between them.

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There is A- suburban infrastructure and there is B - urban infrastructure. This path from A-B is a road. The path from A-B is a train track. The path from A- B is time. 

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A is a drawing. A is enlarged and it becomes B.

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B is a pa inting.

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A is a watery wash. B is a graphic mark. Looking back though B\, we see the remains of A\, that sunset stain\, sadness stain\, staring.

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A is architectural renderings\, A is stenography\, A is new to pography. 

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B is the influenc es of A corrupted by the hand and eye. 

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A is a full view of a building. B is a corner of A. B has rough edges. 

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A is an anecdote th at ends in mid-sentence.

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B i s your memory of A.

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A is lig ht on a building.

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B is A cap tured\, made flat\, given to you.

DTEND:20130519 DTSTAMP:20141221T195449 DTSTART:20130411 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:A to B\, Joe Hoyt UID:267445 END:VEVENT BEGIN:VEVENT DTEND:20130411T200000 DTSTAMP:20141221T195449 DTSTART:20130411T180000 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:A to B\, Joe Hoyt UID:267446 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

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

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

DTEND:20130630 DTSTAMP:20141221T195449 DTSTART:20120708 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Instituted Angles of Path and Display\, Nate Page UID:234944 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Over the past two decades\, Connie Samaras has used photo graphy and video to represent particular built environments she characteriz es as “speculative landscapes” against the backdrop of daily life. She expl ores the aspirations and anxieties of the imagined future – how the US drea ms itself – along with the psychological and social dislocation within the everyday.

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

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

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

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

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DTEND:20130623 DTSTAMP:20141221T195449 DTSTART:20130301 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Tales of Tomorrow \, Connie Samaras UID:253955 END:VEVENT BEGIN:VEVENT DTEND:20130302T210000 DTSTAMP:20141221T195449 DTSTART:20130302T190000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Tales of Tomorrow \, Connie Samaras UID:253956 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Contested Destination  features photography\, drawings\, and video by six artists – Gina Osterloh \, Betsy Lin Seder\, Jeannie Simms\, Gabie Strong\, Kristine Thompson\, and Carrie Yury. All of the artists are former students of artist Connie Samaras\, a full professor at University of California\, Irvine\, whose exhibiti on Tales of Tomorrow  is currently on display in Armory’s Caldwell Gallery. Contest ed Destination has been organized by Armory chief curator Irene Tsatso s with Connie Samaras.

Contested Destination is an evoc ative look at ideas of precedents and homage\, an alternatively organized m atrix of time\, and what Donna Haraway calls “reinscribed hist ory\,” all through the lens of artworks that evoke performance and performa tivity. The show includes:

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  • pho tographs by Gina Osterloh from All of Our Edges\, a series that depicts an obscured figure in a monochromatic environment and reflects the tension between blending into and remaining distinct from an environment or an external presence\;
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  • a series of photographs entitled Fool’s Gold (from the Elep hant series) by Betsy Lin Seder\, which lavishly re present that glittering mineral while evoking feelings of ambiguity\, aspir ation\, and loss\;
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  • I’ll Keep Merapi’s L ava Away from the People\, a video by Jeannie Simms that features women teaching or mimicking the dance-like movements of one another\; the work is from her Readymaids series\, which consists of videos made collaboratively with women inside a maid-training agency in Java\, Indonesia\;
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  • video by Gabi e Strong\, entitled Memories of the Space Age\, which shows a rocket being launched in slow motion\; the title of the work disto rts a sense of time by implying nostalgia for something that arguably has n ot happened yet\, and the imagery literally slows down something as its acc elerating\; 
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  • a photograph of Kristine Thompson integrating – or ingratiating – herself int o a photograph of artist Ana Mendieta as part of a series of works in which she responds to the work of deceased artists who addressed issues of self- portraiture\, sentiment\, and the relationship of their bodies to specific sites\;
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  • drawings by Carrie Yury from a series entitled (My) Performance Anxiety\, in wh ich the artist addresses her conflicted relationship to performance art thr ough a series of drawings of famous feminist performance art works\, revise d by having placed animal masks on their faces.
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DTEND:20130623 DTSTAMP:20141221T195449 DTSTART:20130427 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Contested Destination\, Gina Osterloh\, Betsy Lin Seder\, JEANNIE S IMMS\, Gabie Strong\, Kristine Thompson\, Carrie Yury UID:270568 END:VEVENT BEGIN:VEVENT DTEND:20130427T210000 DTSTAMP:20141221T195449 DTSTART:20130427T190000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Contested Destination\, Gina Osterloh\, Betsy Lin Seder\, JEANNIE S IMMS\, Gabie Strong\, Kristine Thompson\, Carrie Yury UID:270569 END:VEVENT END:VCALENDAR