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A series of work exploring white collar crime of the past decade in America.    

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Kuhl &\; Leyton's collaborative work explores the A merican and global culture of crime and its relationship to fame\, media an d the bizarre. The solo exhibition at Grand Central Art Center marks the US premiere of their new body of work\, which focuses on the subject of white -collar crimes.  The artists draw inspiration from both obscure and popular subjects in the news\, on the Internet and television.  Their primary medi um is tape on paper.  [seriously...tape...it is pretty cray cray]

Subjects of the current body of w ork include: Jack Abramoff\, Martha Stewart\,Bernie and Ruth Madoff\, Enron \, and Allen Stanford and the former chief regulator of his Antigua bank. < /span>
 
Brad Kuhl and Monique Leyton were both born in Miami\, Flo rida in 1983. They grew up in Miami and met at Design and Architecture Seni or High School. They began collaborating in college at Cornell University i n Ithaca\, New York.  They currently divide there time between Beijing\, Ch ina and the United States.

DTEND:20130512 DTSTAMP:20140822T234139 DTSTART:20130302 GEO:33.7461522;-117.8695317 LOCATION:Cal State Fullerton Grand Central Art Center\,125 N. Broadway \nSa nta Ana\, CA 92701 SEQUENCE:0 SUMMARY:Elite Deviance\, Kuhl & Leyton UID:260194 END:VEVENT BEGIN:VEVENT DTEND:20130302T220000 DTSTAMP:20140822T234139 DTSTART:20130302T190000 GEO:33.7461522;-117.8695317 LOCATION:Cal State Fullerton Grand Central Art Center\,125 N. Broadway \nSa nta Ana\, CA 92701 SEQUENCE:0 SUMMARY:Elite Deviance\, Kuhl & Leyton UID:260195 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CB1 Gallery is pleased to present Lisa Adams’ second so lo show with the gallery\, Second Life. Wielding an increased vocabulary of imagery and also of paint treatments\, Adams tra nsfers what she knows about nature\, biology\, zoology\, botany\, geometry\ , light\, space\, and spray paint into a parallel universe where the elemen ts of composition have a different relationship to one another. The exhibit ion will be on view April 7 – May 12\, 2013 and a reception for the artist will be held on Sunday\, April 7\, 2013\, 5 – 7 p.m.

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The works in Second Life were headed into unknown visual territory b efore an eye-surgery crisis intervened in Lisa Adams life and paintings. A convalescence of enforced non-looking drove Adams even dee per into her imagination. She didn’t stop looking just because her eyes wer e closed -- she looked around inside her head instead. Thinking took the pl ace of seeing for a while\, the very definition of imagination\, and it’s t hat second world depicted in these landscapes. All of this happened right b efore Hurricane Sandy\, so when she opened her eyes again\, the real world really looked different -- all coastal town architecture abstracted through destruction and roiling forces of nature. The exhibition includes the pain ting she started before and finished after\; and its lonely black-mud islan d and forlorn cottage wound up a perfect allegory of storms raging inside a nd out. Throughout Second Life she expands her es tablished lexicon of birch trees\, varied surfaces\, lone plant life\, awkw ard built environments\, smoke\, vapor\, clouds\, faux finishes\, deracinat ed shadows\, lime green\, sweated ochre\, pepto pink\, burnt lemon\, and al l kinds of blues.

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The show’s title was inspired by the performance art o f Jon Rafman\, whose avatar Kool-Aid Man bedevils the simulated online game \, Second Life. Rafman has talked about his work inside the sim wo rld as being both hilarious and unsettling for other players to whom his in congruous juxtapositions are disruptive -- for example appearing inside a D &\;D scenario without warning. “It’s like I’m destroying the consistency of their make-believe world. [My] presence triggers a Dadaist celebration of nonsense.” It’s a sweet irony\, causing both consternation and nostalgic exuberance by injecting the unreal into something that’s also always alrea dy unreal. Adams likes it.

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In one new painting a huge black spot eclipse s most of the middle of the composition. Beyond it are gyres of sky and clo ud\, to the right a creeping vine falls and comes to rest along the bottom edge of the image\, compressing space and pushing it back\, obscuring and d epicting at the same time. In other canvases\, floating geometrical shapes dip underneath and hover over pictorial objects\, making space both collaps e and expand -- and in the process drawing attention to the physical mechan ics of sight. Joan Mitchell has said that painting is a way of being in the world. For Adams\, it’s a way of being in the other world\, too.

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Lisa Adams is a painter and public artist\, who has a B.A. from Scripps College and an M.F.A. from the Claremont Graduate University. She h as exhibited nationally and internationally and has been an artist-in-resid ent in Slovenia\, Finland\, Holland\, Japan and Costa Rica. Her many accomp lishments include a Fulbright Professional Scholar Award and her work is in the public collections of Eli Broad\, the San Jose Museum of Art\, the Fre derick R. Weisman Museum of Art\, the Laguna Museum of Art and the Edward A lbee Foundation. She currently blogs on Los Angeles art for the Huffington Post.

DTEND:20130512 DTSTAMP:20140822T234140 DTSTART:20130407 GEO:34.0476954;-118.2499224 LOCATION:CB1 Gallery\,207 W. 5th Street \nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Second Life\, Lisa Adams UID:221473 END:VEVENT BEGIN:VEVENT DTEND:20130407T190000 DTSTAMP:20140822T234140 DTSTART:20130407T170000 GEO:34.0476954;-118.2499224 LOCATION:CB1 Gallery\,207 W. 5th Street \nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Second Life\, Lisa Adams UID:221474 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CB1 Gallery is pleased to present a solo exhibition of new work by artis t Steve Rogers\, Blood At The Roost. Working the past four years in the Inland Empire\, Rogers recent terra cotta works along with gouaches and hand colored\, oil over lino- cut work from 2006 to the present\, are from his “Inland Empire Bantam Yard” series . The exhibition will be on view from April 7 – May 12 2013. An opening rec eption for the artist will take place on Sunday\, April 7\, 2013 from 5 – 7 p.m.

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Rogers’ love of story telling combined with memor ies of time spent in the 1980’s with an old friend chicken Vern\, a cock fi ghter from North Carolina\, led the artist to create this ongoing body of w ork. Vern had two hundred specially bred and trained roosters and would go to farms\, barns and garages where Vern would pit his roosters against othe rs. Not a spectator sport\, Roger’s states that he felt strangely as if he was in the “twilight zone.” While he has no specific interest in cock fight ing\, memories led Rogers to create these bas-relief and gouache works.

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Maintaining his fondness for observing and exploring conflict\, the current work\, from his ongoing “Bantam Yard” series\, continues Rogers’ desire to create a fiction surrounding chickens and roosters. In 2006 Rogers started making cubist surreal cockerels and at the same time began working with ha nd colored lino-cuts. Moving away from pure bred looking fowl he began push ing more into abstraction and around 2010 starting making clay figures with a nod to Magritte and Picasso.

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Steve Rogers received h is BFA from the San Francisco Art Institute and has taught sculpture at Oti s College of Art and Design. He has had solo from 1982 – 1998 at Rosamund F elsen Gallery\, Santa Monica\, and also has shown at Louis Stern Gallery\, West Hollywood\, and Mor York Gallery\, Los Angeles. His work has been incl uded in numerous group exhibitions at various galleries in Los Angeles\, Sa n Diego\, Albuquerque\, San Francisco and Paris. In 1988 Rogers received a fellowship from the National Endowment for the Arts.

DTEND:20130512 DTSTAMP:20140822T234140 DTSTART:20130407 GEO:34.0476954;-118.2499224 LOCATION:CB1 Gallery\,207 W. 5th Street \nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Blood At The Roost\, Steve Rogers UID:257373 END:VEVENT BEGIN:VEVENT DTEND:20130407T190000 DTSTAMP:20140822T234140 DTSTART:20130407T170000 GEO:34.0476954;-118.2499224 LOCATION:CB1 Gallery\,207 W. 5th Street \nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Blood At The Roost\, Steve Rogers UID:257374 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For hundreds of years\, medieval manuscripts have been bought and sold\, gifted and stolen\, preserved and rearranged\, loved and forgotten\, hidde n and displayed. They were cut into pieces\, hung on walls\, and glued into albums. They have survived wars\, fires\, floods\, religious conflict\, po litical tumult\, the invention of printing\, and changes in taste.

At times valued for their beauty\, for their spiritual significance\, o r simply for the strength of their parchment pages\, the books\, leaves\, a nd cuttings in this exhibition have been transformed again and again to sui t the changing expectations of their various audiences and owners. By revea ling the ways in which manuscripts have been repurposed both conceptually a nd physically\, this exhibition explores their long and eventful history si nce the Middle Ages.

In this image\, a male figure forms the le tter I. His exact identity is unknown\, but the presence of multip le instruments of torture identify him as a martyr. Notice the two large st ones on his head\, a sword through his neck\, and a grill and fire at his f eet. It was a common practice in the 19th century for collectors to trim aw ay all traces of surrounding text in illuminated manuscripts\, as here. Col lectors mounted such cuttings into albums\, allowing the viewer to concentr ate solely on the imagery.

DTEND:20130512 DTSTAMP:20140822T234140 DTSTART:20130226 GEO:34.0788083;-118.4750258 LOCATION:Getty Center Los Angeles\,1200 Getty Drive \nLos Angeles\, CA 9004 9 SEQUENCE:0 SUMMARY:Untold Stories: Collecting and Transforming Medieval Manuscripts UID:256155 END:VEVENT BEGIN:VEVENT DTEND:20130226T173000 DTSTAMP:20140822T234140 DTSTART:20130226T100000 GEO:34.0788083;-118.4750258 LOCATION:Getty Center Los Angeles\,1200 Getty Drive \nLos Angeles\, CA 9004 9 SEQUENCE:0 SUMMARY:Untold Stories: Collecting and Transforming Medieval Manuscripts UID:256156 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bill Traylor (1854?-1949) is one of the best-known and most highly estee med artists from the American south. A self-taught artist from Montgomery\, Alabama\, Traylor’s depictions of life in rural and urban Alabama have mad e him one of the most acclaimed artists of the twentieth century. Beginning when he was in his early eighties\, in a prolific decade of art making\, T raylor produced more than 1200 drawings in graphite\, colored pencil\, post er paints and crayon. Many of his works were created on shirt cardboard\, c ast-off signs and other shaped supports\, whose unusual forms often influen ced his designs. Traylor used these materials to create geometrically based representations of human and animal figures\, often combining them in comp lex compositions that included abstracted buildings or “constructions.” The exhibition will feature over 60 rarely seen drawings from the two largest public collections of his work\, the High Museum of Art in Atlanta and the Montgomery Museum of Fine Arts.

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Cygnet and Mingei Celebrate Black Histo ry Month

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Cygnet Theatre and Mingei International Museum have partnered to help maximize audience for two important shows during Black History Mont h: the exhibition Bill Traylor\, opening at Minge i February 9th\, and the play Gem of the Ocean running at Cygnet f rom January 24 - February 24.

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For Cygnet Members

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Min gei will provide free museum admission to all Cygnet subscribers throughout the month of February. One per person.

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For Mingei Members

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Cygnet will provide 50% off single tickets to Gem of the Ocean\, and 2-for-1 discounts on purchases of two or more tickets. For more i nformation\, please email membership @mingei.org. February 7 is "Mingei Members Night" at Cygnet. Members wh o hold tickets for that nights performance will be invited to arrive early for wine and light snacks in the lobby\, and to hear a pre-show talk.

DTEND:20130512 DTSTAMP:20140822T234140 DTSTART:20130209 GEO:32.7314223;-117.1510527 LOCATION:Mingei International Museum - San Diego\,1439 El Prado Balboa Park \nSan Diego\, CA 92101 SEQUENCE:0 SUMMARY:Drawings from the Collections of the High Museum of Art and the Mon tgomery Museum of Art \, Bill Traylor UID:256182 END:VEVENT BEGIN:VEVENT DTEND:20130209T160000 DTSTAMP:20140822T234140 DTSTART:20130209T100000 GEO:32.7314223;-117.1510527 LOCATION:Mingei International Museum - San Diego\,1439 El Prado Balboa Park \nSan Diego\, CA 92101 SEQUENCE:0 SUMMARY:Drawings from the Collections of the High Museum of Art and the Mon tgomery Museum of Art \, Bill Traylor UID:256183 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lotería\, a game of chance that is popular in Mexico and resemble s “Bingo\,” relies upon the identification of symbols instead of numbers. T he Lotería deck uses 54 images that are representative of the cultur e of the region in which the deck was developed. Popular images include the characters\, flora\, fauna and objects people see or use on a daily basis. While various decks exist\, U.S. players are most familiar with the Gal lo Pasatiempos deck\, whose iconic images\, including El Corazón (The Heart) and La Sirena (The Mermaid) are symbols that have becom e synonymous with Mexican identity.

In ¡Lotería!: Highlights from the Permanent Collection\, the curators took objects from MOLAA’s Permanent Collection and identifie d what they interpreted to be their corresponding cards in the Lotería deck . Some\, like La Sandía (The Watermelon) and El Valiente (The Brave One) are literal representations of the cards\, while others are con nected either by formal qualities or by concept. In creating a “deck” that is unique to MOLAA and its location\, the curators have also identified som e symbols that are representative of life in Southern California\, includin g El Mickey (Mickey) and La Pistola (The Gun).
< br />¡Lotería! uses a playful appro ach to MOLAA’s Permanent Collection while encouraging viewers to investigat e the development and meanings of national\, cultural and religious symbols . Through the exhibition’s education station\, viewers are encouraged to de velop their own Lotería cards and riddles as well as play a game of Lotería with their fellow visitors.

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Curated by Gabriela Martínez \, Curator of Education and Rebecca Horta\, MOLAA’s Education Coordinator.< /span>

DTEND:20130512 DTSTAMP:20140822T234140 DTSTART:20121216 GEO:33.774417;-118.179876 LOCATION:Museum of Latin American Art (MOLAA)\,628 Alamitos Ave. \nLong Bea ch\, CA 90802 SEQUENCE:0 SUMMARY:¡Lotería!: Highlights from the Permanent Collection UID:251135 END:VEVENT BEGIN:VEVENT DTEND:20121216T170000 DTSTAMP:20140822T234140 DTSTART:20121216T110000 GEO:33.774417;-118.179876 LOCATION:Museum of Latin American Art (MOLAA)\,628 Alamitos Ave. \nLong Bea ch\, CA 90802 SEQUENCE:0 SUMMARY:¡Lotería!: Highlights from the Permanent Collection UID:251136 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I am interested in utopian experiments from the 19th Century and their c ultural and architectural manifestations. My work explores the use of geome tric systems for organizing images\, forms\, cities\, and cultures. I use s ystems that appear linear\, but that are actually loops that turn back on t hemselves or break into chaos. I often establish a system or a set of rules in order to undermine it.

DTEND:20130512 DTSTAMP:20140822T234140 DTSTART:20130330 GEO:33.8405666;-118.3437333 LOCATION:Torrance Art Museum\,3320 Civic Center Drive \nTorrance\, CA 90503 SEQUENCE:0 SUMMARY:Lobby Sculpture\, Peter Everett UID:264053 END:VEVENT BEGIN:VEVENT DTEND:20130330T170000 DTSTAMP:20140822T234140 DTSTART:20130330T110000 GEO:33.8405666;-118.3437333 LOCATION:Torrance Art Museum\,3320 Civic Center Drive \nTorrance\, CA 90503 SEQUENCE:0 SUMMARY:Lobby Sculpture\, Peter Everett UID:264054 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Leslie Sacks Fine Art is pleased to present “From the Collection of Leslie Sacks: Rarely Seen Works from the Gallery Archive.” This exhibi tion is composed of artworks that have been rarely exhibited…

DTEND:20130513 DTSTAMP:20140822T234140 DTSTART:20130410 GEO:34.053513;-118.463152 LOCATION:Leslie Sacks Fine Art\,11640 San Vicente Blvd. \nLos Angeles\, CA 90049 SEQUENCE:0 SUMMARY:From the Collection of Leslie Sacks: Rarely Seen Works from the Gal lery Archive UID:271703 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A show featuring 3-artists addressing culture and identity.

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The Fine Arts Council of American Jewish University announced today the opening of " Patterns\, Symbols\, Codes/ Understanding Culture and Identity" a new exhibit at its Platt/Borstein Galleries featuring the work of < strong>Edith Hillinger\, Irene Abraham\, and Bruce Barton. Each ar tist in his/her own unique way is interested in human communication and the ir work explores the different modes of visual language.

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The exhibit wil l open on Sunday\, January 13\, 2013\, with a "Meet the Artist Reception" f rom 3:00PM-5:00PM. The exhibit will run through May 13\, 2013 and the publi c is invited free of charge.

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< span style="font-size: small\;">Edith Hillinger's personal identity is reflected in her art work. Moving from Berlin to Istanbul in t he 1930's as a child and then to New York as a teenager\, she experienced v aried cultures and lifestyles. She combines the geometric forms of the fami ly's Bauhaus furniture with the rich patterns and calligraphy from Turkish carpets in her home. She has been drawing strong black India ink lines sinc e childhood. Strongly influenced by her father\, an architect\, she develop ed a love for small visual notations in architectural dictionaries and incl uded these patterns of stairs\, bricks\, and flooring materials in her work s.

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Irene Abraham's experience as a research biologist u sing data to interpret natural phenomena influenced the direction of her ar t. Working with scientific data in research led to her interest in how diff erent modes of communication are expressed through visual means such as alp habets\, codes\, and numerical data. Also of interest is how they are organ ized into networks and systems resulting in a scientific language of data a nd codes. Her artwork explores the translation of these systems such as gra phs\, Braille messages\, and maps of highways and housing developments for their pure aesthetics.

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In one body of work\, Bruce Barton uses computer generated drawings to look at early drawings in ancient ca ves and how they communicate a fundamentally different understanding of the order of nature than our vision today. Bruce Barton considers the early fo rm of communication through cave drawings to be an elementary form of writi ng. With the repetition of the same forms\, the drawings could reinvent lan guage and communicate ideas. In another body of work Bruce Barton refers to many of his drawings as sonnets and vignettes. Through his poems he explor es man in his environment and his encroachment into the animal world.

DTEND:20130513 DTSTAMP:20140822T234140 DTSTART:20130113 GEO:34.12813;-118.472228 LOCATION:Platt & Borstein Galleries at American Jewish University\,15600 Mu lholland Drive \nBel Air\, CA 90077 SEQUENCE:0 SUMMARY:Patterns\, Symbols\, Codes\, Irene Abraham\, Bruce Barton\, Edith H illinger UID:252621 END:VEVENT BEGIN:VEVENT DTEND:20130113T170000 DTSTAMP:20140822T234140 DTSTART:20130113T150000 GEO:34.12813;-118.472228 LOCATION:Platt & Borstein Galleries at American Jewish University\,15600 Mu lholland Drive \nBel Air\, CA 90077 SEQUENCE:0 SUMMARY:Patterns\, Symbols\, Codes\, Irene Abraham\, Bruce Barton\, Edith H illinger UID:252622 END:VEVENT BEGIN:VEVENT DESCRIPTION:

See Line Gallery presents the first Los Angeles solo exhibition from Coachella Valley-based artist Cristo pher Cichocki\, entitled Epicenter\, including paintings\, photograp hs and sculptures. Epicenter is curated by See Line Gallery owner an d independent curator Janet Levy. 

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Th e Coachella Valley is a diverse desert region in Southern California\, loca ted along the San Andreas Fault Line\, the "master" fault of an intricate n etwork that cuts through California's coastal region. Epicenter inve stigates the ephemeral nature of the San Andreas Fault as an existential me ditation of time and space in constant flux. 

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Epicenter showcases Cichocki's ongoing body of work\, which spans eight years and explores\, intervenes\, and comments on the Salton S ea and other desert regions. An extension of his studio\, the open desert b ecomes the setting for momentary installations\, paintings and sculptures\, which he further frames through photographic fragmentation. Through gestur es of immediacy and raw materiality\, Cichocki promotes an awareness of int erconnection between continually shifting elements above and below the surf ace of everyday perception. "Post-Earthwork" landscapes\, topographies and micro worlds are brought forth within a palate of acidic neon contrasted by arid earth tones and textures. Within his "San Andreas Series" Cichocki ha s painted highly textural mixed-media panels reminiscent of cracked asphalt and desert earth which simultaneously suggest satellite topographies\, bot h earthbound and planetary. Sculpturally Epicenter yields neon orang e branches emerging from rusted steel foundations in combination with livin g cacti transplanted into cinder blocks. Cichocki will also present his "Sy nthetic Organism" photographs\, a large series of circular cropped prints a bstracted from decaying desert terrain. The perception of Cichocki's painti ng and photographic works oscillate between telescopic and microscopic. A v isual archetype permeates throughout Epicenter\, illuminating nature as a symbiotic system of chain reactions. 

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Cristopher Cichocki was born in 1979  in Charleston\, Ill.\, and rec eived his BFA in 2001 from California Institute of the Arts. Palm Springs A rt Museum selected him as its 2013 Artist In Residence. From July to Septem ber\, the museum will exhibit his solo installation\, Desert Abyss: Cycl e in Cycle. Other recent exhibitions include: ROJO® NOVA Casa Franca Br asil\, Rio de Janerio\, Brazil\; Time Based Art Festival\, Portland Institu te of Contemporary Art\, Portland\, Ore.\; Full Pull\, Inter Arts Center\, Malmö\, Sweden\; ROJO® NOVA\, Museum of Image and Sound\, Sao Paulo\, Brazi l\; Remains in the End Times\, The Popular Workshop\, San Franciscio\, Cali f.

DTEND:20130516 DTSTAMP:20140822T234140 DTSTART:20130319 GEO:34.0821315;-118.3826225 LOCATION:See Line Gallery\,8687 Melrose Avenue\, Suite B274 \nWest Hollywoo d\, CA 90069 SEQUENCE:0 SUMMARY:Epicenter\, Cristopher Cichocki UID:260594 END:VEVENT BEGIN:VEVENT DTEND:20130516T203000 DTSTAMP:20140822T234140 DTSTART:20130516T180000 GEO:34.0821315;-118.3826225 LOCATION:See Line Gallery\,8687 Melrose Avenue\, Suite B274 \nWest Hollywoo d\, CA 90069 SEQUENCE:0 SUMMARY:Epicenter\, Cristopher Cichocki UID:260595 END:VEVENT BEGIN:VEVENT DESCRIPTION:

These days potential catastrophes are everywhere you look. You can’t go outside or turn on the TV without reports of the world coming to an ‘End’ - global climate collapsing or terrorists planning new attacks. The world is so full of danger\, threats\, stress\, overload and insecurity. Assuming t hat we\, against all odds\, survive the terrifying pitfalls of the future\, is creativity going to be the thing that saves us? Will our imagination be come an escape route\, a place where we can hide\, or will it be the one th ing that forcefully confronts us with the truth and gives us the strength n eeded to make a change? What kind of art would a generation of unlikely sur vivors produce and where would they find their inspiration? What influence would surviving a catastrophe have on our values\, ethics and our perceptio n of truth and how might this situation visualize itself in the art of the future? This pressure coming from a hyper tense society of doom is having a massive impact on the art being produced by the artists who manage to keep up their practice and it is forcing others to remain passive or paralyzed while waiting for a change of current that may never come.

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One of the wa ys in which you can see contemporary art adjusting to the current circumsta nces is the merger between art and social politics\, manifested in movement s such as the Occupy movement. New media and the social networks have made it possible for spontaneous online societies to form\, spread and organize themselves\, and staging real life\, long term protests that resemble cultu ral events or art performances\, but also represent a new kind of radical d emocracy that aims to “occupy the future” and resurrect the hope that’s bee n lost.

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The ICWDD Project was created to instigate a discussion about fu ture creative spaces\, temporary creative communities and networks\, the cu rrent relationship between art and social politics and the potential of the shared creative process.

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Bibi Katholm\, Artist &\; Curator\, ICWDD

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Featured works by:
Andreas Emenius (SE)\, Jacob Kirkegaard (DK)\, Devin Troy Strother (US )\, Paco Pomet (ES)\, Mie Olise (DK)\, Ida Kvetny (DK)\, Theis Wendt (DK)\, Bibi Katholm (DK)\, Monique Prieto (US)\, Christine Gray (US)\, Frohawk Tw o Feathers (US)\, Chris Natrop (US)\, Per Hüttner (SE)\, Troels Carlsen (DK )\, Mamma Andersson (SE)\, Mai Hofstad Gunnes (NO)\, Asger Carlsen (DK)

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From 8-9 p.m.\, on the night of the opening reception\, there will be a live performance by Dreamers \, who describe themselves as\, “An electrical storm of punk rock and minim al techno.”

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In Case We Don’t Die is sponso red in part by:

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< img src="http://www.torranceartmuseum.com/images/oca_logo.jpg" width="200" />

DTEND:20130516 DTSTAMP:20140822T234140 DTSTART:20130330 GEO:33.8405666;-118.3437333 LOCATION:Torrance Art Museum\,3320 Civic Center Drive \nTorrance\, CA 90503 SEQUENCE:0 SUMMARY:In Case We Don’t Die\, Andreas Emenius\, Jacob Kirkegaard\, Devin T roy Strother\, Paco Pomet\, Mie Olise\, Ida Kvetny\, Theis Wendt\, Asger Ca rlsen\, Bibi Katholm\, Monique Prieto\, Christine Gray\, FROHAWK TWO FEATHE RS\, Chris Natrop\, Per Hüttner\, Troels Carlsen\, Mamma Andersson\, Mai Ho fstad Gunnes UID:264049 END:VEVENT BEGIN:VEVENT DTEND:20130330T210000 DTSTAMP:20140822T234140 DTSTART:20130330T180000 GEO:33.8405666;-118.3437333 LOCATION:Torrance Art Museum\,3320 Civic Center Drive \nTorrance\, CA 90503 SEQUENCE:0 SUMMARY:In Case We Don’t Die\, Mamma Andersson\, Asger Carlsen\, Troels Car lsen\, Andreas Emenius\, FROHAWK TWO FEATHERS\, Christine Gray\, Mai Hofsta d Gunnes\, Per Hüttner\, Bibi Katholm\, Jacob Kirkegaard\, Ida Kvetny\, Chr is Natrop\, Mie Olise\, Paco Pomet\, Monique Prieto\, Devin Troy Strother\, Theis Wendt UID:264050 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Night Gallery is pleased to present “New Paintings” by David Korty\, the artist’s fir st solo exhibition with the gallery. In his latest works\, Korty collages i nked patterns and images onto a metaphorical filmstrip. Rather than relatin g linearly\, as frames in a film\, Korty’s hand-drawn frames are stacked\, neighbored\, and overlapped like apartments in a city or trees in a forest. Limiting his palette to black ink\, Korty’s frames include traced shadows of plants\, hazy gradations\, anonymous figures\, stamped fruit\, and autom atic rubbings made from wire and hot glue. The filmstrips in Korty’s painti ngs are not tied to camera or celluloid but to montage and memory. They rel ate not to film’s physical attributes but to its consciousness. It was m ade like a piece of automatic writing. It was in the editing that the piece s of the puzzle came together\, and it wasn’t me who designed the puzzle1.< /i> This automatic puzzle\, the study of film through still images\, is the fabric of David Korty’s paintings.
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    #BirdInFlightCo nstatineBrancusi #concentrated not on the #physicalattributes of the #bird but #onitsmovement --- from a #Romanianfolklegend about a magical bird who had #supernaturalpowers. She was the #queenofthebirds with a #beautifulvoic e #onlythechosen could hear and her voice had the potential to #makethelist ener #younger.
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     The affective imprint of c inema is not from its enchantment through moving images\, but in its presen tation of time\, writes Deleuze in Difference and Repetition. Steppi ng into a theater we encounter worlds where time can be stretched like elas tic\, contracted\, or even stopped. In Korty’s paintings time exists on a g eological scale. It is stretched so far as to be virtually static. This sta sis invites a different kind of looking in which the eye and mind become ac tive agents and blinking becomes a kind of editing.
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1
Chris Marker on the making of his film La Jetée. Harbord\, Janet. Chris Marker: La Jetée. AFTERALL\, 2 009

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DTEND:20130517 DTSTAMP:20140822T234140 DTSTART:20130420 GEO:34.019521;-118.231777 LOCATION:Night Gallery\,2276 East 16th Street \nLos Angeles \, CA 90021 SEQUENCE:0 SUMMARY:New Paintings\, David Korty UID:269117 END:VEVENT BEGIN:VEVENT DTEND:20130420T220000 DTSTAMP:20140822T234140 DTSTART:20130420T190000 GEO:34.019521;-118.231777 LOCATION:Night Gallery\,2276 East 16th Street \nLos Angeles \, CA 90021 SEQUENCE:0 SUMMARY:New Paintings\, David Korty UID:272118 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130517 DTSTAMP:20140822T234140 DTSTART:20130420 GEO:34.019521;-118.231777 LOCATION:Night Gallery\,2276 East 16th Street \nLos Angeles \, CA 90021 SEQUENCE:0 SUMMARY:18 Double Rolls\, Mark A. Rodriguez UID:272121 END:VEVENT BEGIN:VEVENT DTEND:20130420T220000 DTSTAMP:20140822T234140 DTSTART:20130420T190000 GEO:34.019521;-118.231777 LOCATION:Night Gallery\,2276 East 16th Street \nLos Angeles \, CA 90021 SEQUENCE:0 SUMMARY:18 Double Rolls\, Mark A. Rodriguez UID:272122 END:VEVENT BEGIN:VEVENT DESCRIPTION:

OHWOW is pleased to announce David Benjamin She rry’s second solo exhibition with the gallery\, Wonder ful Land\, on view from April 18 through May 17\, 2013. With this exhibition\, Sherry presents a new series of analog photographs taken over the course of several months while he travelled through the Western an d Southwestern states\, recording scenes of the American landscape\, in exc eptional detail. Through a painstaking darkroom process\, Sherry transforme d these photographs of national parks\, monuments\, and familiar panoramas into impossibly chromatic and passionate renditions of the country.< /p>\n

Sher ry traversed these feral regions equipped with a large format\, handmade\, wooden camera. Using an f/64 aperture\, he was able to capture photographs that were evenly sharp from foreground to background. This exposure setting was an aperture used by Group f/64\, a group comprised of seven 20th centu ry photographers\, including Ansel Adams and Edward Weston\, whose pictures were characterized by carefully framed images captured in sharp focus – of ten of the American West. The result of Sherry’s technical process\, photog raphing parallel subject matter\, delivers prints that are hyper-real in th eir detail\, exposing an infinite depth. His images inhabit an unfamiliar\, strange space\, as we recognize the physical inability of our own eyes to gauge such extreme levels of visual information. His attention to process r elays his personal conviction\, but it also insists on reflection\, appreci ation\, and preservation of his muse.

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Brilliant colors are achieved duri ng Sherry’s analog darkroom printing process\, as he seeks new tones\, valu es and hues\, which evoke an emotional state\, as a result. His use of 8 x 10 negatives enables him to attain variations similar to ranges typically a ssociated with black and white printing. Through technique\, Wonderful Land innovates natural phenomena by visually communicating the intensi ty of firsthand experience. These photographs depict scenes so precise and carefully framed that the composition of elements feels staged. It is as if \, like arranging a portrait\, the subject and composer experience a simult aneous recognition of significance. True\, these are images of landscapes n ot people\; for Sherry\, however\, his relationship to the natural world is as intimate as any human equivalent.

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Sherry’s approach to the medium ch allenges categorical ideologies and the question of photographic truth. It could be argued that no photograph can be completely detached or objective\ , but the distinction concerning a photographer’s intent seems to divide di rectives: aesthetic or objective. With this collection of “truthful” images \, presented in exaggerated colors\, the artist marries opposing categoriza tions\, or the division implied therein. Wonderful Land reminds us \, through photography\, of the inherent value that exists in any natural r esource – what it offers\, what it represents\, and ultimately\, its abilit y to connect us to a broader experience.

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“Everybody needs beauty as well as bread\, places to play in and pray in\, where Nature may heal and c heer and give strength to body and soul alike… This natural beauty – hunger is made manifest … in our magnificent National Parks … Nature’s sublime wo nderlands\, the admiration and joy of the world.” – John Muir DTEND:20130517 DTSTAMP:20140822T234140 DTSTART:20130418 GEO:34.0880307;-118.3766156 LOCATION:OHWOW Los Angeles\,937 N. La Cienega \nLos Angeles\, CA 90069 SEQUENCE:0 SUMMARY:Wonderful Land\, David Benjamin Sherry UID:267776 END:VEVENT BEGIN:VEVENT DTEND:20130418T210000 DTSTAMP:20140822T234140 DTSTART:20130418T190000 GEO:34.0880307;-118.3766156 LOCATION:OHWOW Los Angeles\,937 N. La Cienega \nLos Angeles\, CA 90069 SEQUENCE:0 SUMMARY:Wonderful Land\, David Benjamin Sherry UID:267777 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Annual Undergraduate Exhibition showcases outstanding artwork made b y USC undergraduate students over the course of the 2012-13 academic year. The faculty committee welcomes work from all USC students\, regardless of t heir major\, to be submitted for the jury process. The exhibition will incl ude work in painting\, drawing\, ceramics\, sculpture\, printmaking\, photo graphy\, video and graphic design. All of these areas of emphasis are taugh t at the Roski School by a faculty of practicing artists and designers. USC Roski has long-advocated an interdisciplinary approach culling from rich s tudio practice and instruction across six areas. The works of art on displa y here represent a cross-section of exciting contemporary approaches rangin g from traditional representation to conceptually based projects.

DTEND:20130517 DTSTAMP:20140822T234140 DTSTART:20130507 GEO:34.0184163;-118.2891492 LOCATION:USC Fisher Museum of Art\,823 Exposition Boulevard \nLos Angeles\, CA 90089 SEQUENCE:0 SUMMARY:USC Roski School of Fine Art Annual Undergraduate Exhibition UID:277217 END:VEVENT BEGIN:VEVENT DESCRIPTION:

“I really believe there are things which nobody would see unless I photographed them.” -Diane Arbus

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The Fahey/Klein Gallery is pleased to present a specia l exhibition of Diane Arbus photographs. Culled over many years\, this never-before-exhibited private collection contains several imp ortant Arbus photographs including\, among others\, Russian midget frie nds in a living room on 100th Street\, N.Y.C.\, 1963\; Lady Barten der at home with a souvenir dog\, New Orleans\, L.A.\, 1964\; Jack Dracula\, the Marked Man\, N.Y.C.\, 1961\; Two ladies at the auto mat\, N.Y.C.\, 1966\; and Circus fat lady and her dog\, Troubles. Diane Arbus remains one of the most influential and revered artists in the history of photography.

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Diane Arbus’ portraits of socialites\, nudists\, transvestites\, carnival performers\, and eccentrics reflect her long-standing interest in subcultures and the rituals of group s within society. Arbus closely collaborated with her subjects by posing th em\, engaging them in conversations\, and spending time in their homes and environments. This process set Arbus apart from her contemporaries\, and re sulted in images that are formal and deliberate\, but also exceedingly pers onal. In turn\, each portrait becomes an engaging collaboration between the subject\, photographer\, and viewer. “Privately\, Arbus compared her photo graphic approach to gathering a butterfly collection\, a metaphor that evok es both the evanescent quality of photography and its scientific objectivit y.” (Sandra S. Phillips\, The Question of Belief\, “Diane Arbus: R evelations”\, Random House\, 2003)

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Arbus’ images contai n a paradoxical element which uncovers the strange in the everyday while si multaneously revealing the familiar in the unknown. Diane Arbus’ images inv estigate the nature of identity\, and explore the difference between how he r subjects want to be seen and how others see them— what Arbus referred to as the “gap between intention and effect”. Arbus’ photographs acknowledge h er subjects’ complexity and duality\, and in turn reveal the defining chara cteristics of each person.

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“Arbus’ particular contribut ion as an artist was not in what kinds of people she approached to photogra ph\, but in what she was able to derive from the experience. Her devotion t o the principles of the art she practiced—without deference to any extraneo us social or political agenda—has produced a body of work that is often sho cking in its purity\, in its bold commitment to the celebration of things a s they are. Her refusal to patronize the people she photographed\, her acce ptance of the challenge of the encounter constitutes a deep and abiding hum anism.” (Sandra S. Phillips\, The Question of Belief\, “Diane Arbu s: Revelations”\, Random House\, 2003)

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In 1967\, Diane Arbus was included with her contemporaries Garry Winogrand and Lee Friedlan der\, in the hugely significant exhibition “New Documents” at the Museum of Modern Art\, New York curated by John Szarkowski. A posthumous retrospecti ve of her work was exhibited at MoMA in 1972\, one year after her death.

DTEND:20130518 DTSTAMP:20140822T234140 DTSTART:20130328 GEO:34.0750041;-118.3436913 LOCATION:Fahey/Klein Gallery\,148 N. La Brea Ave. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Photographs\, Diane Arbus UID:267783 END:VEVENT BEGIN:VEVENT DTEND:20130328T210000 DTSTAMP:20140822T234140 DTSTART:20130328T190000 GEO:34.0750041;-118.3436913 LOCATION:Fahey/Klein Gallery\,148 N. La Brea Ave. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Photographs\, Diane Arbus UID:267784 END:VEVENT END:VCALENDAR