BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:
Cannibal Flower and Cella Gallery are pleased to present "Never A Dull Moment" an exciting group exhibition featuring work from some of the brigh test emerging artists in the LA scene.
\n
 
\n
Featuring the talent s of Gustavo Rimada\, Cody Lusby\, Ariel Deandrea\, Jackson Thilenius\, Lau ren Haggis\, John Park\, Michael Christy\, Sarah Stieber\, Ken Flewellyn\, Elliot Brown\, Kristin Bockrath\, Kelly Thompson\, L. Croskey\, Kate Zambra no\, Macsorro\, Ramiro Hernandez\, Christopher Willingham\, Salah\, Jeaneen Carlino\, Telopa and Jenna Gibson.
\n
 
\n
The opening reception f or "Never A Dull Moment" takes place Saturday\, April 20th from 7-11 pm\, a t Cella Gallery.  The reception is open to the public with a number of the artist attending. Beats curated by the one and only Mr. Numberonederful.
\n
 
\n
About Cannibal Flower:
The Cannibal Flower Art Gallery and Performance Spa ce is a once-a-month\, portable venue for the arts that showcases art\, mus ic\, dance\, film\, projections\, magic and fashion shows. Cannibal Flower believes that if an artist is truly passionate and dedicated to what they d o\, they deserve a chance to show their art. By working with different gall eries and alternative spaces\, Cannibal Flower is able to bring the arts to a wider and more diverse audience.
\n
 
\n
About Cella Gal lery:
Cella Gallery i s a contemporary fine art gallery located in the heart of the NoHo Arts Dis trict in Los Angeles\, California. Cella has been on the forefront of emerg ing art in LA since 2008 and continues to champion and support new and emer ging artists through creative programming and events. For more information about the gallery\, visit www.cellagallery.com
DTEND:20130510 DTSTAMP:20140726T144857 DTSTART:20130420 GEO:34.167082;-118.374156 LOCATION:Cella Gallery\,11135 Weddington St. #112 \nNorth Hollywood\, CA 91 601 SEQUENCE:0 SUMMARY:Never A Dull Moment\, Ramiro Hernandez\, christopher willingham\, S alah\, Kristin Bockrath\, Kelly Thompson\, L. Croskey\, Kate Zambrano\, Mac sorro\, Cody Lusby\, Ariel DeAndrea\, Jackson Thilenius\, Lauren Haggis\, J ohn Park\, Michael Christy\, Sarah Stieber\, Ken Flewellyn\, Elliot Brown\, Jenna Gibson\, telopa\, Jeaneen Carlino\, Gustavo Rimada UID:270036 END:VEVENT BEGIN:VEVENT DTEND:20130420T230000 DTSTAMP:20140726T144857 DTSTART:20130420T190000 GEO:34.167082;-118.374156 LOCATION:Cella Gallery\,11135 Weddington St. #112 \nNorth Hollywood\, CA 91 601 SEQUENCE:0 SUMMARY:Never A Dull Moment\, Kristin Bockrath\, Elliot Brown\, Jeaneen Car lino\, Michael Christy\, L. Croskey\, Ariel DeAndrea\, Ken Flewellyn\, Jenn a Gibson\, Lauren Haggis\, Ramiro Hernandez\, Cody Lusby\, Macsorro\, John Park\, Gustavo Rimada\, Salah\, Sarah Stieber\, telopa\, Jackson Thilenius\ , Kelly Thompson\, christopher willingham\, Kate Zambrano UID:270037 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The AndrewShire Gallery is pleased to present De S til\, a group exhibition of paintings and sculpture by Los Angeles-base d artists Steve DeGroodt\, Mara De Luca\, Andy Kolar\, Doug Meyer and Carol ee Toon\, curated by veteran LA-curator Carl Berg.

\n

 

\n

De Stil\, which in Dutch translates to The Quiet\, describes the na ture of these five artists’ works. Quiet but revealing\, the work presents a visual and conceptual layering that requires the viewer to investigate\, ponder\, and contemplate the works.

\n

 

\n

Abstraction has made a tremendous resurgence in the art world in the past decade\, as generation s of artists continue to explore this form in their practice. De Stil includes a mix of both younger and older artists whose investigation of a bstraction evolves from different eras and approaches. Crossing the boundar ies of concept and time\, there is an underlying synergy between the works in the exhibition\, a fertile interaction that emphasizes the quietness\, t he stillness\, of each piece.

\n

 

\n

Berg\, the exhibition curat or\, has had a long-term interest in abstraction\, having curated over a do zen exhibitions exploring the genre. De Stil is the first exhibition he has curated at the AndrewShire Gallery. He will continue his exploratio n of abstraction with a second show at the gallery in the fall of 2013.

\n

 

\n

AndrewShire Gallery is dedicated to the development and exhi bition of innovative contemporary artworks by international and local talen ts. In addition to its Los Angeles location\, the gallery established an al ternative space in Singapore in 2006. AndrewShire continues to push the int ernational envelope while remaining an integral part of the local community . The gallery is located at 3850 Wilshire Boulevard #107\, Los Angeles\, CA 90010.  AndrewShire Gallery\, Singapore is located at 63 Hillview Avenue # 10-13\, Lamb Spoon Building\, Singapore\, 669569.

\n

 

\n

 

\n

 

\n

 

\n

For press inquiries co ntact Christine Anderson\, Communication Arts + Design ca@communicationartsinc.com (31 0) 869-8957  w ww.communicationartsinc.com

\n

 

\n

For furthe r information contact May Chung

\n

may@andrewshiregalle ry.com

\n

213 389-2601  www.andrewshiregallery.com< /p>\n

 

DTEND:20130510 DTSTAMP:20140726T144857 DTSTART:20130413 GEO:34.0821315;-118.3826225 LOCATION:CMay Gallery\,8687 Melrose Ave. Space B226\nWest Hollywood\, CA 90 069 SEQUENCE:0 SUMMARY:De Stil\, Steve DeGroodt\, Mara De Luca\, Andy Kolar\, Doug Meyer a nd Carolee Toon UID:270572 END:VEVENT BEGIN:VEVENT DTEND:20130413T200000 DTSTAMP:20140726T144857 DTSTART:20130413T180000 GEO:34.0821315;-118.3826225 LOCATION:CMay Gallery\,8687 Melrose Ave. Space B226\nWest Hollywood\, CA 90 069 SEQUENCE:0 SUMMARY:De Stil\, Steve DeGroodt\, Andy Kolar\, Mara De Luca\, Doug Meyer a nd Carolee Toon UID:270573 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Part I\, from April 25 - May 10\, 2013\, will have two opening receptions: Thursday April 25\, from 6-9 pm and Saturday April 27\, from 12-6 pm.

\n

The University of California at Irvine has renamed th e Studio Art Department the Department of Art. The MFA class of 2013 is the first to receive their degrees with this new title and the work they will present in UCI MFA Thesis Exhibition: Parts I and II reflects this turn. Th e nine candidates will exhibit work demonstrating fresh interpretations of interdisciplinary practice\, including performative installation\, sculptur al video\, theatrical soundscapes\, critical abstraction\, painting\, and i nstitutional critique.

In the Room Gallery Cassie Riger will present Early Influences. The viewer enters a darkened gallery to find a series of playfully constructed video projections\, which meditate upon the possibilities and problematics of the apparatus of cinema. Filmic effects now typically achieved in post product ion are achieved in Riger’s work through ridiculously obtuse physical effor ts. Meanwhile\, a series of cinematically composed color photographs stage expressive tableaus from remembered moments of television spectacle. She us es these telegenic reenactments to interrogate the emotional affects and co llective traumas projected via mass media.

In the University Art Gallery (UAG) Yaron Michael Hak im will show an installation incorporating a handmade boat in which he will sail to Catalina Island following the exhibition. Through sculptures\, ins tallations\, paintings and performance he creates a phenomenological world to negotiate interests in ritual\, travel\, science and politics. This bric olage practice is influenced by his travels\, nomadic-like upbringing and g eneral sense of placeless-ness.

Todd Bura will show a series of paintings in the Contemporary Ar ts Center Gallery (CAC). The work is the result of his recent investigation s into fixed and unfixed compositions. He is invested in both the history o f painting and poetically working within the medium.

Also in the CAC\, Martabel Wasserman will p resent #ReclaimMayDay\, an installation exploring the pagan and political o rigins of the holiday. She investigates the difficulty of coalition buildin g ultimately seeking to mobilize political action through craft\, camp\, te xt\, and social practice.

DTEND:20130510 DTSTAMP:20140726T144857 DTSTART:20130425 GEO:33.6485224;-117.8443304 LOCATION:UCI Art Gallery\,UC Irvine 712 Arts Plaza \nIrvine\, CA 92697-2775 SEQUENCE:0 SUMMARY:MFA Thesis Exhibition\, Part I UID:270331 END:VEVENT BEGIN:VEVENT DTEND:20130427T180000 DTSTAMP:20140726T144857 DTSTART:20130427T120000 GEO:33.6485224;-117.8443304 LOCATION:UCI Art Gallery\,UC Irvine 712 Arts Plaza \nIrvine\, CA 92697-2775 SEQUENCE:0 SUMMARY:MFA Thesis Exhibition\, Part I UID:270332 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The fourth and final installment of showcases by the MFA (Master of Fine Arts) 2013 candidates in the UCLA Department of Art\, MFA #4 features work by Jonathan Apgar (painting/drawing)\, EJ Hill (new genres)\, Gerardo Monterrubio (ceramics)\, and David Fisk Whitaker (ceramics). Join us for the opening o n Thursday\, May 2 from 5-8pm.

DTEND:20130510 DTSTAMP:20140726T144857 DTSTART:20130502 GEO:34.075692;-118.4411339 LOCATION:UCLA New Wight Gallery\,1100 Broad Art Center 240 Charles E. Young Drive\nLos Angeles\, CA 90095 SEQUENCE:0 SUMMARY:MFA Exhibition #4\, Jonathan Apgar\, EJ Hill\, Gerardo Monterrubio\ , David Fisk Whitaker UID:270338 END:VEVENT BEGIN:VEVENT DTEND:20130502T200000 DTSTAMP:20140726T144857 DTSTART:20130502T170000 GEO:34.075692;-118.4411339 LOCATION:UCLA New Wight Gallery\,1100 Broad Art Center 240 Charles E. Young Drive\nLos Angeles\, CA 90095 SEQUENCE:0 SUMMARY:MFA Exhibition #4\, Jonathan Apgar\, EJ Hill\, Gerardo Monterrubio\ , David Fisk Whitaker UID:270339 END:VEVENT BEGIN:VEVENT DESCRIPTION:

We'd love your company is a new project with New York-based art ist Ethan Breckenridge.  The project extends an open invitation to publics to repurpose the UAG into a negotiated space of research\, dialogue\, perfo rmance\, sociality\, and activism. The gallery becomes a place where the as sumptions of participatory formats in art practice and popular culture\, ar e thought through\, discussed\, performed and tested through a program of e vents and conditions of in/hospitable space.

\n

The physical walls of the g allery\, which previously served to delineate separate display spaces and t o maximize surface area for exhibition of artworks\, are cut out and recons tructed to provide a physical platform\, as well as other ambiguous grounde d structures\, that invite indeterminate use. Translucent scrims\, scattere d throughout the newly opened space\, allow guests to erect mutable enclosu res and barriers\, while life-size figures\, enlarged from architectural mo dels\, populate the space as its imagined and real participants. Through th is redesign\, Breckenridge acts as architect and host to ambivalent inhabit ation by all guests and collaborators — both allied and adversarial\, ideal ized and actualized. 

\n

We’d love your company parlays the open i nvitation into a call for program proposals as a transactional vehicle for the use and exchange of space and time by the UAG's most proximate public\, the university student(s)\, as well as its ancillary publics\, the “commun ity.” Parallel to this invitation\, We'd love your company hosts a series of guest lectures\, performances\, and workshops that critically re spond to the participatory imperative in contemporary art practices and pol itical institutions. Alongside this programming\, the performance of an ada pted teleplay and the screening of a video\, both produced by Breckenridge\ , consider projective and reflexive instances of the hospitable gesture and participation in piecemeal\, narrative forms.  To view the full schedule o f programs\, please visit the Upcoming Talks and Events page. 

\n

Over the course of < em>We'd love your company\, a progressive publication will document th e project in a self-archiving format to become a flexible instruction manua l that invites further reflection and both auspicious and dubious participa tion. 

\n

 

\n

Call for Proposals

\n

Members of public s are invited to propose event programs as part of\, or separate from\, the exhibition. We welcome all proposals! Conferences\, performances\, seminar s\, gabfests\, team building sessions\, social gatherings\, tête-à-tête's\, etc.  To propose an event program\, or for any related inquiries\, please e-mail uag@ucsd.edu with your name\, organization\, potential dates and times\, a brief description\ , potential equipment/material needs\, your contact information\, and "YOUR PROGRAM HERE" in the subject line.

\n

 

\n

Ethan Breckenridge (b. Madison\ , Wisconsin\, 1977) lives and works in New York. He earned his BFA from the School of Visual Arts and MFA from Columbia University. He has exhibited i n galleries and institutions internationally and has produced projects for unitednationsplaza in Berlin\, Germany (2006)\, Goethe Institut's Ludlow38 in New York (2008)\, the Museo Patino in Santa Cruz\, Bolivia (2009)\, and the Sommerakademie at Zentrum Paul Klee in Bern\, Switzerland (2009). Most recently\, he exhibited at Gresham’s Ghost in Baltimore\, The Zabludowicz C ollection in London\, UK\, Thierry Goldberg Gallery in New York\, and The S uburban in Chicago.

DTEND:20130510 DTSTAMP:20140726T144857 DTSTART:20130221 GEO:32.855706;-117.237748 LOCATION:University Art Gallery\, UCSD\,9500 Gilman Drive\, 0327 Mandeville Center\nLa Jolla\, CA 92093 SEQUENCE:0 SUMMARY:We'd Love Your Company\, Ethan Breckenridge UID:256450 END:VEVENT BEGIN:VEVENT DTEND:20130221T203000 DTSTAMP:20140726T144857 DTSTART:20130221T173000 GEO:32.855706;-117.237748 LOCATION:University Art Gallery\, UCSD\,9500 Gilman Drive\, 0327 Mandeville Center\nLa Jolla\, CA 92093 SEQUENCE:0 SUMMARY:We'd Love Your Company\, Ethan Breckenridge UID:256451 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Assembly and Tomwork (Tom Jimmerson\, formerly of Cardwell Jimmerson Contemporary Art) present "Merwi n Belin: Frontpages" on view from April 13 to May 11. Artist' s reception is Saturday\, April 13\, 6-9 pm. 

\n

Ronald Reagan served as Pr esident of the United States from January 1981 until January 1989. Sometime in 1984\, when the so-called "Reagan Era" was coming to be recognized as t he political and cultural sea-change that it was\, Merwin Belin embarked on an ambitious series of artworks of and about that era and the culture-wars that followed. The logic of Belin's project is as simple as it is relentle ss. Portions of a newspaper's front page--The Washington Post\, New York Ti mes\, Wall Street Journal\, Los Angeles Times and Herald Examiner--are exci sed by x-acto knife and discarded. Other portions from "the back" of the pa per so to speak\, are moved forward and substituted\, thus generating a new narrative that was arguably already there\; this within a design format--t he front page--that is itself a "readymade" composition. Rinse and repeat.< /span> 

\n

Belin has so far executed more than two hundred such pieces\, one hundred of which are on view here. Each is as particular and as general as the day it addresses. Collectively howev er\, they raise two important critical issues. One is the matter of "method \," Belin's means of production. The other is "time" and the circumstances of his reception. 

\n

In the 1974 b ook "Theory of the Avant-Garde\," Peter Burger identified collage / montage as the wedge dividing a (false) organic realism from a (true) dis-continuo s reality. Collage was thus declared "the fundamental principal of avant-ga rdiste art" as it developed in the early twentieth century. Things have cha nged. Collage is now taught as an introductory art technique from kindergar ten to the old-age home. No longer radical\, it has instead become almost s hockingly routine. Indeed\, in the "cut and paste" digital workplace\, are we not all collagists now? Belin concurs\, comfortable in the knowledge tha t\, except for frames and plexiglass\, these now old-fashioned paper docume nts barely even register as art. 

\n

Time? It is a peculiar and perhaps defining feature of Belin's work that a statement made in time\, about a specific moment in time\, might take yet more time--years or perhaps even decades--to become fully legible. "Timing is everything\," according to the vulgar phrase that so neatly fits into t he pragmatic ideology of neo-liberal economics. Likewise\, "yesterday's pap er" was shorthand for something valueless back when newspapers still matter ed. But there could be another\, more subtle view of temporality that appli es here. When the philosopher Nelson Goodman grew tired of circular argumen ts about "what is art\," he countered with the question "when is art?" In t he twilight of the once mighty print culture this artist so closely observe s\, Belin's "Frontpages" answer\, "now."

\n

Exhibition hours are Tuesday th rough Saturday\, noon to 6:00 pm. Assembly is located at 2045 S. La Cienega Blvd.\, Los Angeles CA 90232. Ample parking is available in the lot adjace nt to WSS Shoe Warehouse at the same address.

DTEND:20130511 DTSTAMP:20140726T144858 DTSTART:20130413 GEO:34.0331985;-118.3754944 LOCATION:Assembly\,2045 S. La Cienega Blvd. \nLos Angeles\, CA 90232 SEQUENCE:0 SUMMARY:Frontpages\, 1984-Present\, Merwin Belin UID:269594 END:VEVENT BEGIN:VEVENT DTEND:20130413T210000 DTSTAMP:20140726T144858 DTSTART:20130413T180000 GEO:34.0331985;-118.3754944 LOCATION:Assembly\,2045 S. La Cienega Blvd. \nLos Angeles\, CA 90232 SEQUENCE:0 SUMMARY:Frontpages\, 1984-Present\, Merwin Belin UID:269595 END:VEVENT BEGIN:VEVENT DESCRIPTION:
\n

The Cosmos is all that is or ever was or ever will be. Our feeblest contemplations of th e Cosmos stir us — there is a tingling in the spine\, a catch in the voice\ , a faint sensation of a distant memory\, as if we were falling from a grea t height. We know we are approaching the greatest of mysteries. --Carl Sagan

\n
\n

\n

The Cohen G allery is pleased to announce Falling from Great Height s\, a group exhibition featuring photographic works by Siri Kaur\, John Knuth\, and Heather Rasmussen. While each of the three Los Angeles-based artists owns a distinct style\, a ll have a fascination with photography as a vehicle to abstract locations a nd space.  Each artist’s work transcends the materials used to dislocate th e viewer by means of manipulation\, scale\, and movement. All of them engag e with the sublime\, the beauty and fear of the spectacle of nature and the unknown. This poetic leitmotif draws their work together\, however each ar tist manifests this in different ways.  

\n

Siri Kaur will show images from her Half of the Whole series—a photographic exploration of deep spa ce through a telescope lens. She manipulates the color and depth of the cel estial forms with chemicals in the darkroom to create new images that look like “real” photographs of distant galaxies. With this series the artist pl ays with photography’s uncanny ability to dislocate space and time. Kaur re ceived her MFA from the California Institute of the Arts and is currently a n Assistant Professor at Otis College of Art and Design. Her work will be i ncluded in the forthcoming 2013 California Triennial of Photography.  

\n

J ohn Knuth’s Polaroid images from High Harbor and Faded Siren\ , are based upon a simple process of photographing survival materials that echo patterns in the natural world. The result yields little jewels of one- of-a-kind Polaroid prints. High Harbor includes abstract images of c rumpled\, light-reflecting Mylar blankets tossed into the night sky and upo n being photographed result in abstract images of what could be glimmering mountains and valleys. Faded Siren exposes billowing clouds of orang e smoke from emergency flares photographed with flash that cause fractal pa tterns in the black night sky. Knuth’s corresponding video displays his pra ctice of working with the smoke flares in the desert landscape. Knuth was t he director of Circus Gallery from 2007 to 2010.  He has shown his work in Sweden\, Germany\, Denmark\, Iceland and Mexico and at the Los Angeles Coun ty Museum of Art\, the Minneapolis Institute of Art and in galleries in Los Angeles\, Chicago and San Francisco.  He received an MFA from USC.  

\n

DestructConstruct by Heather Rasmussen is a series inspired by the art ist’s ongoing investigation into shipping container disasters as systems of dysfunction. Colorful\, handmade paper sculptures are stacked\, scattered or crumpled into formations that replicate found images on the Internet of actual cargo accidents. These abstracted incidents remove the viewer from a dangerous scene and into an exploration of shape\, color and pattern with deceivingly fragile materials\, representing the delicate foundation of man ’s trophies to globalization.  Heather received her MFA from the California Institute of the Arts and has exhibited at the Art Institute of Chicago\, Mixed Greens in NYC and numerous galleries across the country.

DTEND:20130511 DTSTAMP:20140726T144858 DTSTART:20130328 GEO:34.0760162;-118.3500916 LOCATION:Cohen Gallery\,7354 Beverly Boulevard \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Falling from Great Heights\, Siri Kaur\, John Knuth\, Heather Rasmu ssen UID:265071 END:VEVENT BEGIN:VEVENT DTEND:20130328T210000 DTSTAMP:20140726T144858 DTSTART:20130328T190000 GEO:34.0760162;-118.3500916 LOCATION:Cohen Gallery\,7354 Beverly Boulevard \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Falling from Great Heights\, Siri Kaur\, John Knuth\, Heather Rasmu ssen UID:265072 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Copro Gallery presents Jeff Gillette's  fourth solo show with the gallery\,"Slum Landfills". This brand new body of work is inspired by a culmination of travels Jeff took t hrough the slums of India\, most recently\, the Dharavi Slum (of Slumdog Mi llionaire fame) last spring. Most remarkable in his latest visual documenta tion of his experiences are the environments of many of the shanty town are as where it's hard discerning the trash from the architecture. Most of the paintings feature Mickey Mouse either prominently\, hidden or dead in the p iles of debris. Included in the show are a multitude of sculptures that mim ic the detritus that is the material used by the slum inhabitants to create their impromptu homes. This show will give you a glimpse into some of the most wretched places on earth!

Artist Statement 

When I was thirty-eight years old\, I was drag ged\, kicking and screaming into the Disneyland Theme Park in Anaheim\, Cal ifornia to have "fun." Everything was clean\, orderly and happy. I may have vomited. I prefer Calcutta\, India. Over there I routinely contract food p oisoning or worse\,and vomit.It all started for me back in the late 1980’s as a Peace Corps volunteer in Nepal\, I visited all of India’s large cities and their megaslums. Besides India\, I’ve ventured into favelas\, barrios\ , bastis and shantytowns\, experiencing urban blight in North Africa\, Sout heast Asia\, Central and South America\, Mexico and Bangladesh. Aside from the seething humanity\, suffering\, unfairness and cruelty of the slum is a strange beauty. The cacophony of filthy debris rising from oceans of garba ge comprises an architecture of depravation and necessity. What emerges is a living environment of aesthetic wonder\, spectacular visuals of space\, c olor\, form\, and texture. These images\, I re-create in the all too-realis m of my “slumscape” artwork\, in drawings\, paintings\, sculptures and inst allations.

DTEND:20130511 DTSTAMP:20140726T144858 DTSTART:20130420 GEO:34.0276049;-118.4678444 LOCATION:CoproGallery\,Bergamot Station 2525 Michigan Ave.\, #T-5\nSanta Mo nica\, CA 90404 SEQUENCE:0 SUMMARY:Slum Landfill\, Jeff Gillette UID:269099 END:VEVENT BEGIN:VEVENT DTEND:20130420T233000 DTSTAMP:20140726T144858 DTSTART:20130420T200000 GEO:34.0276049;-118.4678444 LOCATION:CoproGallery\,Bergamot Station 2525 Michigan Ave.\, #T-5\nSanta Mo nica\, CA 90404 SEQUENCE:0 SUMMARY:Slum Landfill\, Jeff Gillette UID:269100 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gallery 2 Copro presents becca &\; Philip Lu mbang. For this exhibition there will be paintings by becca and Ph ilip as well as colloboration pieces done by both artists. Since the late 8 0's artist becca has been taking her work to the street an d helping to pioneer a phenomena in Los Angeles know as “street art”. Her v ision in seeing the potential of our urban landscapes as a endless canvas p layed an integral role in accelerating a movement that would change art and how artists express themselves. beccas' paintings on wood have a look like they have been taken from the street much like her work used to sell in th e begining from paintings procured from construction sites or boarded up bu ildings in Los Angeles. Since the 80's she has done many fine art exhibitio ns with major galleries and continues to represent the feminine side to a m ostly masculine dominated art form. 

Philip Lumbang's greatest passion is drawing and painting. Doing the only thing that seemed natural to him\, he pursued his artistic talent and went to art scho ol. By divine entanglement\, he was offered a seat next to Sheperd Fairey\, at Studio Number One. There\, immersed in a world where an artist is not a trouble maker\, but a respected professional\, he realized he could be one too. Los Angeles was a world apart from his humble suburban home back in E lk Grove\, California. When he would draw he would channel all the noise\, traffic\, bad habits and negativity that the city was boiling over with. Hi s bears first emerged as gaspingly rude mammals. But the bears transformed as Philip did. As a counter attack to the world's problems they went to art istic reform school\, rather – charm school. They appeared all over Los Ang eles as courteous and well mannered cuddly creatures. Now\, as a most wise people\, Philip Lumbang's message through the bears is to love each other a nd the bears do it quite nicely!

DTEND:20130511 DTSTAMP:20140726T144858 DTSTART:20130420 GEO:34.0276049;-118.4678444 LOCATION:CoproGallery\,Bergamot Station 2525 Michigan Ave.\, #T-5\nSanta Mo nica\, CA 90404 SEQUENCE:0 SUMMARY:becca / Lumbang\, Becca\, Philip Lumbang UID:269101 END:VEVENT BEGIN:VEVENT DTEND:20130420T233000 DTSTAMP:20140726T144858 DTSTART:20130420T200000 GEO:34.0276049;-118.4678444 LOCATION:CoproGallery\,Bergamot Station 2525 Michigan Ave.\, #T-5\nSanta Mo nica\, CA 90404 SEQUENCE:0 SUMMARY:becca / Lumbang\, Becca\, Philip Lumbang UID:269102 END:VEVENT BEGIN:VEVENT DESCRIPTION:

< b>Corey Helford Gallery presents

Kazuki Takamatsu
“Japanese Ideology of Puberty”
Solo Exhibition

Opening Reception Saturday\, April 13\, 2013 from 7-10pm
On View April 13 – M ay\,11\, 2013

Corey Helford Gallery             < /strong>
8522 Washington Boulevard              
Culver City\, CA  90232                
T : 310-287-2340                  
www.coreyhelfordgal lery.com
Open Tuesday - Saturday\, Noon to 6:00pm

On Saturday\, April 13\, 2013\, Corey Helfor d Gallery presents the “Japanese Ideology of Puberty\,” featurin g the light and shadow paintings of Japanese artist Kazuki Takamatsu \, his first solo show with the gallery.

Takamatsu’s paintings of contemporary awakenings are a catharsis of tonalities. “I use computer graphics-digital-and painting-analog-to make a work and it indicates the em otion of boys and girls metaphorically\,” says Takamatsu of his painting me thod. Through the computer graphic technique of depth mapping\, three-dimen sional space is digitally visualized in a series of multiple depth plains. Takamatsu hand paints the emotions of his teenage subjects modeled on deep computer visual space. “Each graduation from surface to depth means the dis tance and there is no light and shadow. The color of black and white are me taphor for truth and evil\, race and religion.” With acrylic black and whit e paints and gouaches\, Takamatsu renders his girls with a method mediated on social fields of sexual identity\, depth-fields mapping emotions engagin g with a “systematic society.”

In the featured painting\, “Wha t is Important to Me Now?\,” Takamatsu reveals a girl’s contemplation as a defense of being overwhelmed: “Weapons to protect something or to get rid o f something. Information\, life\, politics\, culture\, religion\, friends\, nature\, animal\, plant or mind?” Youth becomes a field of awakenings\, mu ltiple perceptions of an adulterated world. “A pure emotion of Teenager who can’t get used to the society of adult has a mirror of inconsistency of so ciety. I think there is a beauty in it\,” he says. Takamatsu celebrates the adolescent’s vision as a purity blossoming through technology media\, a ve nus fly-trap of tech culture and viral thinking.

“Japanese Ide ology of Puberty” will exhibit twelve oil paintings painted in acrylic and gouache\, focusing on the emotive depth of coming of age. Of his painting\, “The Flu” depicting a virus complicating life and transmitted by people\, he visualizes metamorphosis. “The information\, society and people always k eep changing\,” says Takamatsu of his ephemeral figures’ world\, a vibrant\ , noir mapping of the rites of youth\, where growing-up is a surreal awaken ing\, a beauty transcending technocracy.

The opening reception for “Japanese Ideology of Puberty” takes place Saturday\, April 13 at Core y Helford Gallery. The reception is open to the public\, and the exhibition will be on view through May 11\, 2013.

DTEND:20130511 DTSTAMP:20140726T144858 DTSTART:20130413 GEO:34.03078;-118.3794874 LOCATION:Corey Helford Gallery\,8522 Washington Blvd. \nCulver City\, CA 90 232 SEQUENCE:0 SUMMARY:“Japanese Ideology of Puberty” \, Kazuki Takamatsu UID:271317 END:VEVENT BEGIN:VEVENT DTEND:20130413T220000 DTSTAMP:20140726T144858 DTSTART:20130413T190000 GEO:34.03078;-118.3794874 LOCATION:Corey Helford Gallery\,8522 Washington Blvd. \nCulver City\, CA 90 232 SEQUENCE:0 SUMMARY:“Japanese Ideology of Puberty” \, Kazuki Takamatsu UID:271318 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Kordansky Gallery is very pleased to announce Sam Gilliam: Hard-Edge Paintings 1963-1966\, its fir st exhibition of the artist's work. The show\, curated by fellow gallery ar tist Rashid Johnson\, will open on March 28 and run through May 11\, 2013. An opening reception will be held on Thursday\, March 28 from 6:00 until 8: 00pm.

A revolutionary fi gure in postwar American art\, Sam Gilliam helped define the Washington Col or School in the mid-1960s and pushed Color Field painting to its extremes. Gilliam utilized the tenets of hard-edge geometric painting as starting po ints for a series of formal experiments that would soon lead to subsequent breakthroughs in contemporary painting\, including the installation-based d rape paintings for which he is best known. Exhibition curator Rashid Johnso n has focused on this lesser-known period as a way of shedding light on the full scope of Gilliam's achievement. The exhibition is therefore an opport unity to see the early paintings of a major figure through the eyes of a yo ung artist who himself has recently emerged as a leading voice of his gener ation. 

The earliest pai ntings on view feature wash-like monochromatic fields inscribed with diagon al stripes. While executed using the same Magna acrylic resin paints prefer red by many of his Washington-based peers during this period\, these works display a subtle sense of color and texture\, and show Gilliam beginning to gradually diverge from the strict parameters of what was understood as Col or Field painting. In other works\, hard edges start to give way to a more organic interaction of pigments––diagonal stripes and triangular forms divi de areas of raw canvas but also blend into one another. No longer wholly re liant on what Kenneth Noland described as a "one-shot" process of pre-conce ived design\, these paintings show Gilliam developing a freer method of com position. 

This transiti on was enacted by a young artist responding to an increasingly unpredictabl e world by adapting a structured methodology for greater experimentation. F or Gilliam\, the hard-edge ethos was not a theoretical end itself\, but the beginning of a lifelong interest in the connection between painting and sc ulpture\, and in creating\, in critic and curator Jonathan Binstock's words \, "a totally painterly environment\, one that made a viewer's relationship to the object and the space around the object... almost as important as th e object itself." 

Gilli am would soon expand the field of the painting beyond the limits of the str etcher into the surrounding architecture. But he would also question the co nnection between formalism and issues outside of a purely art historical co ntext\, including those related to the particularities of African-American experiences. Throughout his evolution\, and regardless of the specific para meters of a given period\, Gilliam has always focused on the lyrical potent ial of his chosen materials. As a result\, his work has increasingly proven to be a prevailing influence on younger artists working across all media.< /span>

Sam Gilliam (b. 1933) lives and works in Washington\, D.C. His work is in the coll ections of many major institutions worldwide\, including the Museum of Mode rn Art\, New York\; Tate Modern\, London\; The Art Institute of Chicago\; H irshhorn Museum and Sculpture Garden\, Washington\, D.C.\; Musée d'Art Mode rne de la Ville de Paris\; Los Angeles County Museum of Art\; Dallas Museum of Art\; Walker Art Center\, Minneapolis\; and the Solomon R. Guggenheim M useum\, New York. A major retrospective was held at the Corcoran Gallery of Art\, Washingon\, D.C. in 2005. Included in many seminal group exhibitions over the last fifty years\, his work is currently on view in A Bigger Splash: Painting after Performance\, Tate Modern\, London. Other forth coming and recent group shows include The Force of Color\, Madison Museum of Contemporary Art\, Madison\, WI\; Drip\, Drape\, Draft\ , curated by Rashid Johnson\, South London Gallery\, London\; The Spiri t Level\, curated by Ugo Rondinone\, Gladstone Gallery\, New York\; Colorscape: Abstract Painting\, 1960-1979\, Santa Barbara Museum of Art\; and The Shape of Color\, Art Gallery of Ontario\, Toronto. G illiam will be honored alongside other artists by American Patrons of Tate\ , in a ceremony to be held in New York in May 2013.

DTEND:20130511 DTSTAMP:20140726T144858 DTSTART:20130328 GEO:34.0298855;-118.3721373 LOCATION:David Kordansky Gallery\,3143 S. La Cienega Blvd. Unit A\nLos Ang eles\, CA 90016 SEQUENCE:0 SUMMARY:Hard-Edge Paintings 1963-1966\, Sam Gilliam UID:265699 END:VEVENT BEGIN:VEVENT DTEND:20130328T200000 DTSTAMP:20140726T144858 DTSTART:20130328T180000 GEO:34.0298855;-118.3721373 LOCATION:David Kordansky Gallery\,3143 S. La Cienega Blvd. Unit A\nLos Ang eles\, CA 90016 SEQUENCE:0 SUMMARY:Hard-Edge Paintings 1963-1966\, Sam Gilliam UID:265700 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Koplin Del Rio is pleased to announce an exhibition of selected work from the estate of master printmaker Robert Bero (1941-2007). This exhibition will feature selected works on paper depi cting the majestic landscapes of rural upstate New York. Included in the in stallation are etchings\, woodblocks and hand colored prints from throughou t the artist’s career.

\n

Robert Bero was born in Brooklyn\, New York and l ived most of his life upstate in Tuxedo Park. The artist studied at the Pra tt Institute (BFA) and at Yale University (MFA)\, where he served as an ass istant to etching professor Gabor Peterdi. Bero began his teaching career a t the State University of New York at Potsdam and later assumed teaching po sitions at Brown University and at the State University of New York at Purc hase.

\n

Bero’s unique studio in Tuxedo Park was constructed from the conve rted dog kennels of the Colgate family estate. The renovation was completed with large sheets of glass salvaged from the I.M. Pei designed Hancock bui lding. This innovative structure allowed Bero a constant panorama of the wo oded hills that inspired his work in the studio. It was during this period from 1974 to the artist’s death in 2007 that Bero created his signature wor k\, from stark and skeletal winter landscapes to the lush and vibrant folia ge\, the artist tirelessly documented every season and detail of his surrou ndings. Upon the artist’s death\, the turn of the century Tuxedo Junction t rain station became a permanent showcase for many Robert Bero works.

\n

Rob ert Bero’s etchings and woodcuts prove that the traditional techniques of p rintmaking are anything but exhausted in the creation of superbly beautiful landscapes. Bero’s enormous woodcuts\, years in the making and days in the printing\, expand the horizons of printmaking.
– John Canaday\, New York Times.

\n

Ber o’s work has been exhibited internationally at several prominent institutio ns including Yale University\, Art Basel in Switzerland\, Portland Art Muse um\, University of New York\, Albany\, Syracuse University\, the Brooklyn M useum\, Ohio State University\, Kansas State University\, the Smithsonian a nd Bucknell Univeristy\, PA.

\n

< span style="font-size: small\;">The Artist was the recipient of many honors and awards including the Louis Comfort Tiffany Award\, a Fulbright Grant\, the Benicke Grant and Purchase Prizes from the Library of Congress. Robert Bero’s work is in the permanent collection of the Library of Congress\, Ya le University\, The Brooklyn Museum\, The American Embassies of London\, To kyo and Paris\, The University of New York\, LACMA\, and the Smithsonian in Washington D.C.

DTEND:20130511 DTSTAMP:20140726T144858 DTSTART:20130413 GEO:34.0316947;-118.3771554 LOCATION:Koplin Del Rio Gallery\,6031 Washington Blvd. \nCulver City\, CA 9 0232 SEQUENCE:0 SUMMARY:A Wooded Thicket\, Robert Bero UID:267774 END:VEVENT BEGIN:VEVENT DTEND:20130413T190000 DTSTAMP:20140726T144858 DTSTART:20130413T170000 GEO:34.0316947;-118.3771554 LOCATION:Koplin Del Rio Gallery\,6031 Washington Blvd. \nCulver City\, CA 9 0232 SEQUENCE:0 SUMMARY:A Wooded Thicket\, Robert Bero UID:267775 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Koplin Del Rio is pleased to announce its debut exhibit ion of work by artist Stacy Lynn Waddell.

\n

Waddell who i s based out of Chapel Hill\, North Carolina\, works in a variety of mediums \, combining drawing\, collage\, sculpture and installation. The pieces in her upcoming show Bluebelles\, are all narrative works on paper in w hich the artist has burned or singed portraits and imagery\, embellishing t hem with gold\, silver leafing and watercolor. The subject matter in the la rge 8ft drawings and small mixed media pieces is both real and imagined\, t he ethereal episodes incorporate elements from American history\, pop cultu re as well as explore personal identity.

\n

If you Google “bluebelle” th e results will range from a genus of hyacinth-like flower\, to a chartered yacht that was the scene of a multiple murder and the Sixties girl group he adlined by the soulful chanteuse Patti LaBelle. Any of these results might offer insights into this selection of works.

\n

With the exhibition Bluebelles\, architectonic arrangements of boats\, birds\, bodies of water and black beauties present a narrative about the construction of ideals tha t is part myth and part reality and exemplifies the beauty\, melancholy and vagaries of a collective experience that is uniquely American.< /p>\n

H owever\, my images are mirages. Each alchemic method that I employ creates a system of emphatic marks and disintegrating tones that highlight my growi ng anxieties about creation in a New Age where social\, political and artis tic foundations are shifting. –Stacy Lynn Waddell

\n

Stacy Lynn Waddell earned an MFA in 2007 from the University of North Caroli na\, Chapel Hill\, NC and an EDN degree from the School of Design at North Carolina State University\, Raleigh\, NC. She is the recipient of a 2012 Ar t Matters Grant as well as a Joan Mitchell Painters and Sculptors Grant in 2010. Waddell’s work has been featured in several prominent institutions an d museum shows\, including Duke University\, The Weatherspoon Art Museum an d UNC Chapel Hill. Stacy Lynn Waddell’s work is in the collection of the Ac kland Museum of Art at the University of North Carolina\, Chapel Hill\, the Weatherspoon Museum of Art at the University of North Carolna-Greensboro\, NC The Studio Museum in Harlem\, New York\, The Gibbes Museum of Art\, Cha rleston\, SC and the Nasher Museum of Art at Duke University\, Durham\, NC.

DTEND:20130511 DTSTAMP:20140726T144858 DTSTART:20130413 GEO:34.0316947;-118.3771554 LOCATION:Koplin Del Rio Gallery\,6031 Washington Blvd. \nCulver City\, CA 9 0232 SEQUENCE:0 SUMMARY:Bluebelles\, Stacy Lynn Waddell UID:269371 END:VEVENT BEGIN:VEVENT DTEND:20130413T190000 DTSTAMP:20140726T144858 DTSTART:20130413T170000 GEO:34.0316947;-118.3771554 LOCATION:Koplin Del Rio Gallery\,6031 Washington Blvd. \nCulver City\, CA 9 0232 SEQUENCE:0 SUMMARY:Bluebelles\, Stacy Lynn Waddell UID:269372 END:VEVENT BEGIN:VEVENT DESCRIPTION:

L&am p\;M Arts is pleased to present Louise Nevelson: The 70s\, an in depth look at a diverse and defining decade of work by the woman deemed the “Grande Dame of Contemporary Sculpture.” This exten sive exhibition will include over thirty works described by the artist at t he time of their making to be about the now\, which have since matured over the past three decades to take on new and evolved relevancy. The first exh ibition to focus solely on works from this era examines a culminating crest of her investigations into the relationship between elements\, sculpture\, and architecture to achieve her distinct material alchemy.
< br /> After Nevelson’s first major retrospective at The Whitney Museum of American Art in New York in 1967\, her work noticeably shifted in tone and form. In his essay for the forthcoming monograph Louise Nevelson\, slated to be released by Skira publishers in April 2013\, art historian Germano Ce lant reflects on this charged period:

\n
“from the 1 970s\, the continuity of the wall structures was broken down in pursuit of a discontinuity that emancipated the individual elements\, separating them and making them autonomous and different\, no longer contained in boxes…(th ey) seemed to come from an order that was no longer primitive\, but rather cultured and mature\, where verticality was a metaphor for the pride and pr esence that had been achieved.”
\n


The 1970s were a time of unprecedented success for Nevelson: she participated for the sec ond time in the Venice Biennale (1976)\, New York City Mayor Ed Koch named a downtown Manhattan park after her (1978)\, and President Carter honored h er as one of five most important woman contributing to the arts in the Unit ed States. These accolades allowed her to pursue a new\, larger scale for h er work as a result of invitations for various commission projects. In addi tion\, a steady stream of gallery and museum exhibitions afforded the oppor tunity to expand on her previous practice with increasing momentum. The wor ks displayed in Louise Nevelson: The 70s present a holistic look int o not only her artistic achievements\, but also intellectual and aesthetic explorations at the time. Among the objects providing insight into these pu rsuits are Small Cities IX\, 1978\, a rare wooden ‘tool’ box\; Un titled\, 1971\, an 89-piece intricate geometric wall sculpture\; and a large-scale work that\, like many of her commissioned works from the era\, will be erected outside in the gallery's garden.

The exhibiti on will also include a suite of fourteen collages by the artist known for h er signature eccentric style. More often than not\, Nevelson could be found draped in decadent furs over richly textured garments\, her eyes heavily o utlined in black pencil and a net of false eyelashes. She believed that aes thetics are a closed circuit\; the current running from her intellectual pe rceptions to her personal style to her artwork fed a continuous dialogue. T he 1970s proved a prolific period of collage-making for Nevelson\, who\, at the time\, remarked on the subject\, “I love to put things together. My wh ole life is one big collage. Every time I put on clothes\, I am creating a picture\, a living picture\, for myself... I like clothes that are upholste red. I like that you build up your clothes…You can do it two-dimensionally\ , and every time I do it\, when I go back to my work\, I use that again.” H er collages are an integral component to a body of work deeply rooted in he r distinct sensibility.

Louise Nevelson (1899–1988) was born L ouise Berliawsky in Kiev\, Russia and immigrated to Rockland\, Maine at the age of six. After marrying Charles Nevelson in 1920\, the couple settled i n New York City. It was there that she enrolled in the Art Students League\ , studying under Kenneth Hayes Miller and Hans Hoffman. Over the next two d ecades she worked as an assistant to Diego Rivera as well as at the Sculptu re Center in New York and Atelier 17. After the mid-1950s she began showing regularly in New York and abroad. Nevelson’s work can be found in nearly 9 0 public collections worldwide\, including: Albright-Knox Art Gallery\, New York\; The Art Institute of Chicago\; The Brooklyn Museum\, New York\; The Cleveland Museum of Art\; The Corcoran Gallery of Art\, Washington\, D.C.\ ; Dallas Museum of Art\; Hirshhorn Museum and Sculpture Garden\, Washington \, D.C.\; Israel Museum\, Jerusalem\; Los Angeles County Museum of Art\; Ce ntre Georges Pompidou\, Paris\; Tate Gallery\, London\; Walker Art Center\, Minneapolis\; and Whitney Museum of American Art\, New York.

DTEND:20130511 DTSTAMP:20140726T144858 DTSTART:20130322 GEO:33.990079;-118.459967 LOCATION:L&M Arts\, Los Angeles\,660 Venice Boulevard \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:The 70s \, Louise Nevelson UID:264037 END:VEVENT BEGIN:VEVENT DTEND:20130322T200000 DTSTAMP:20140726T144858 DTSTART:20130322T180000 GEO:33.990079;-118.459967 LOCATION:L&M Arts\, Los Angeles\,660 Venice Boulevard \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:The 70s \, Louise Nevelson UID:264038 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Roses decorate the wooden torso of the pale queen. El Rey\, her king\, s tands at her side\, inclines his head and motions to a silent crowd. The to wer\, washed a bright candy apple red\, keeps watch from afar. Pawns and kn ights\, hands poised mid-gesture\, train their golden eyes on a distant hor izon. Magicians caught thinking before they speak? Or are they simply chess pieces in an elaborate imaginary game? What they might have seen or heard remains mysterious. But the charisma conjured by these figures is unmistaka ble.

As per usual with Miguez' meticulously dreamed creations\, each sculpture features found obje cts coupled with specifically crafted structural components: printing block s serve as podium for a small bronze figure\, a tin cake mold suggests a ca refully pleated collar\, a tiny salt spoon adorns the wooden front piece of a circular tower of Chinese boxes and rusted gears\, a porcelain skinned f igure sits cross-legged on a battered doll-sized chair. The combinations of bronze and wood\, the patinas of gunmetal gold and ebony evoke the illusio n of an object-generated light. Shadow and substance\, fantasy and identity \, are interwoven via the history of the 'old' object and the lively accomp lishment of the artist's invention.

Ms. Miguez' work is included in numerous public and private collections. Louis Stern Fine Arts represents the artist exclusively

DTEND:20130511 DTSTAMP:20140726T144858 DTSTART:20130323 GEO:34.0807028;-118.3878482 LOCATION:Louis Stern Fine Arts\,9002 Melrose Avenue \nWest Hollywood\, CA 9 0069 SEQUENCE:0 SUMMARY:Sound of a Thought\, Cecilia Miguez UID:261119 END:VEVENT BEGIN:VEVENT DTEND:20130323T200000 DTSTAMP:20140726T144858 DTSTART:20130323T170000 GEO:34.0807028;-118.3878482 LOCATION:Louis Stern Fine Arts\,9002 Melrose Avenue \nWest Hollywood\, CA 9 0069 SEQUENCE:0 SUMMARY:Sound of a Thought\, Cecilia Miguez UID:267170 END:VEVENT BEGIN:VEVENT DESCRIPTION:

the artist saw the rat
the finger saw the rainbow
the tou lambi tribe saw the white man
the spectator didn’t see
the p ainter wasn't there
the rat sa w the mirror
the elephants mad e new work
the gallerist refus ed to consign
the insignifican t works were handmade signs
th e artist is crafty- that comes in handy
as he is behind the wall and behind the viewers of the viewers
there is no doubt the artist is the rat

\n

–another artist

\n


The artist has memory and is able to re cognize him/herself in a mirror\, both characteristics indicate he/she is a ware of him/herself as an individua l in a collective. Elephants do too. *

\n

A video made in 1976 documents th e first ever encounter of a Nueva Guinea's tribe with the white man. This w ork portrays both tribes' curiosity in observing each other and by showing it on a screen one would feel curio sity to observe this too\, except M ichael D. Linares decides to cover it. A prohibited self-recognition intere st is what the artist seems to be c urious to observe.

\n

As a way to conveniently state the artist has the ult imate control of his work's meaning\, Insignificant is chosen as the title< /span> for a series of prints. Because the work is not only explained by hand sign language\, but it is as well hand printed on hand made paper\, the ar tist might be redirecting the significance to its craft. Michael D. Linares is painter of origin\, born in San Juan\, Puerto Rico.

\n

With these works the artist\, like every other art ist\, proves himself an artist\, when trying to recognize his own abilities \, as a way to find an origin to hi s own practice. The self-awareness capacity\, intrinsic to the human aesthe tic knowledge becomes the base of h is observation and inspired on this idea\, all the pieces above described e xit the artist's studio in Puerto R ico to be presented in ltd los angeles for the exhibition under the title " Was it a rat I saw?"

\n

PS – The viewer can view other viewers by hiding in a wall\, simultaneously creating a multi-gaze mural in the back part of the gallery. The artist will observe the wall\, the viewers\, and the viewed\; having said this\, I believe the artist is the rat.

\n

* The elephant paintings are real

\n


-Adriana Lara\, 2013

\n

\n

DTEND:20130511 DTSTAMP:20140726T144858 DTSTART:20130406 GEO:34.098048;-118.3543467 LOCATION:ltd los angeles\,7561 Sunset Blvd. \nLos Angeles\, CA 90046 SEQUENCE:0 SUMMARY:Was it a rat I saw?\, Michael Linares UID:265361 END:VEVENT BEGIN:VEVENT DTEND:20130404T200000 DTSTAMP:20140726T144858 DTSTART:20130404T180000 GEO:34.098048;-118.3543467 LOCATION:ltd los angeles\,7561 Sunset Blvd. \nLos Angeles\, CA 90046 SEQUENCE:0 SUMMARY:Was it a rat I saw?\, Michael Linares UID:269444 END:VEVENT END:VCALENDAR