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CONTACT Om Bleicher\, Owner/Director\, bG Gallery\ , Bergamot Station Arts Center\, 2525 Michigan Avenue\, Space G8A
Santa Monica\, CA 90404\, Phone: 310/906-4211\, Email: i nfo@bgartdealings.com

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"DISCARDED BIBLE AR TIST" SUSAN HANNON PREMIERES FIRST FEATURE EXHIBIT AT BERGAMOT STATION'S bG GALLERY

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SANTA MONICA\, Calif. &ndash\; S eptember 28\, 2016 -- Sculptor Susan Hannon premieres her first feature exh ibit at bG Gallery (www.santamonica.bgartdealings.com) at the Bergamot Stat ion Arts Center in Santa Monica.
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Hannon is known for creating sculptures in the shape of human-scale wings made out of discarded vintage Bibles\, such as a grad e two Braille Bible\, an 1865 Civil War-era Bible\, and a Torah. Hannon&rsq uo\;s work takes emotionally loaded raw materials that were imbued with spi ritual and devotional significance and repurposes them for artistic and hum anistic ends. &ldquo\;These books were cried on\, prayed over\, and preache d with. They are marinated in so much emotion. I find them in a dilapidated state\, about to be thrown out\, restore them\, and give them new life and new resonance.&rdquo\; In addition to the Bible wing pieces\, the retrospe ctive will feature works from 2003 to 2016 in various mediums\, including f ound object sculptures and two-dimensional works on paper.

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Hannon's work has been featured in Art in America magazin e and was recently awarded the Robert Brown Award at an exhibition juried b y Laddie John Dill at the Brand Art Center.

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The opening exhib ition will be held Saturday\, October 15\, 2016\, 6:00 p.m. - 9:00 p.m. The artist will be in attendance. The exhibition will run through November 3\, 2016.

DTEND:20161103 DTSTAMP:20160928T215251 DTSTART:20161015 GEO:34.0279746;-118.4679684 LOCATION:bG Gallery\,Bergamot Station\, 2525 Michigan Ave space G8A\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Susan Hannon Opening Exhibition \, SUSAN HANNON UID:429461 END:VEVENT BEGIN:VEVENT DTEND:20161015T210000 DTSTAMP:20160928T215251 DTSTART:20161015T180000 GEO:34.0279746;-118.4679684 LOCATION:bG Gallery\,Bergamot Station\, 2525 Michigan Ave space G8A\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Susan Hannon Opening Exhibition \, SUSAN HANNON UID:429462 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The City of Los Angeles Department of Cultural Affai rs (DCA) \;and the \;Los Angeles Municipal Art Gal lery (LAMAG) \;proudly announce \;S/Election \;at \;Barnsdall Park (4800 Hollywood Boulevard\, Los Angeles\, CA 90065). The public is welcome to attend an opening reception on  \;Sunday\, October\, \;October 16th \;from \;2-5 p.m. \;to experience the politically poignant \;exhibition\, which utilizes art as a vehicle to engage important conversation amidst a highly charged presidential election. On view from \;October 16\, 2016 through January 8\, 2017\, S/Election \;examines the work of some \;of Los Angeles most prominent contemporary artists including \;Charles Gaines \, Ramiro Gomez\, Taisha Paggett\, Gelare Khoshgozaran\, Ruben Ortiz \; Torres\, \;and \;Linda Pollack\, \;all of \;whom ignite con versations about citizenship and democracy in America. \;Under the cura torial direction of newly-appointed \;LAMAG Curator\, Erin Christovale\ , and \;Art Center Director\, Isabelle Lutterodt\, \;the exhibition provides an alternative platform for artists and \;the public to parti cipate in civic discourse. h ttp://www.lamag.org

DTEND:20161016T170000 DTSTAMP:20160928T215251 DTSTART:20161016T140000 GEO:34.1016178;-118.2950273 LOCATION:Los Angeles Municipal Art Gallery at Barnsdall Park (LAMAG)\,4800 Hollywood Blvd. \nLos Angeles\, CA 90027 SEQUENCE:0 SUMMARY:S/Election Exhibition Opens at Barnsdall Park\, Linda Pollack\, Rub en Ortiz Torres\, Gelare Khoshgozaran\, Taisha Paggett\, Ramiro Gomez\, Cha rles Gaines UID:429458 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161210 DTSTAMP:20160928T215251 DTSTART:20161022 GEO:34.075883;-118.350767 LOCATION:Richard Telles Fine Art\,7380 Beverly Boulevard \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Group Exhibition UID:429453 END:VEVENT BEGIN:VEVENT DTEND:20161022T190000 DTSTAMP:20160928T215251 DTSTART:20161022T170000 GEO:34.075883;-118.350767 LOCATION:Richard Telles Fine Art\,7380 Beverly Boulevard \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Group Exhibition UID:429454 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161203 DTSTAMP:20160928T215251 DTSTART:20161022 GEO:34.076042;-118.289958 LOCATION:Michael Benevento\,3712 Beverly Boulevard \nLos Angeles\, CA 90004 SEQUENCE:0 SUMMARY:N.A.F.T.A\, Not A Fair Trade for All\, Fred Lonidier UID:429451 END:VEVENT BEGIN:VEVENT DTEND:20161022T200000 DTSTAMP:20160928T215251 DTSTART:20161022T180000 GEO:34.076042;-118.289958 LOCATION:Michael Benevento\,3712 Beverly Boulevard \nLos Angeles\, CA 90004 SEQUENCE:0 SUMMARY:N.A.F.T.A\, Not A Fair Trade for All\, Fred Lonidier UID:429452 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On Sunday\, October 30th at SPARC&rsquo\;s historic headquar ters since 1977 (Old Venice Police Station)\, SPARC-UCLA presents their ann ual &ldquo\;Dí\;a de los Muertos / Day of the Dead&rdquo\; ceremony t o honor the dearly departed with the annual ritual of The Calling of the Sp irits. The traditional ceremony will start at 5:30 P.M.\, guided by UCLA in structor and SPARC&rsquo\;s Artist in Residence\, Martha Ramirez-Oropeza\, and her UCLA&rsquo\;s Cé\;sar E. Chá\;vez Chicana/o Studies Dep artment students. \;

About Dí\;a de los Muertos: the j oyful and colorful ritual is celebrated throughout Mexico and around the wo rld. Scholars trace its origins to the Pre-Hispanic observances recorded in the ancient manuscripts called có\;dices. The twenty-day months of M iccailhuitontli and Huey Miccailhuitl\, which occurred in August\, were ded icated to the Lord and Lady of Death. The Spanish invasion however\, impose d their Catholic\, All Saints Day\, changing it to November 1st and 2nd. As the Europeans expanded their influence throughout the continent\, the ritu al evolved. With the creative genius of master engraver\, José\; Guad alupe Posada\, who created the famous image of\, La Catrina\, the ritual ac quired a political-satirical edge. Today\, it combines a profound observanc e of honoring those who have passed and\, especially in urban areas\, a pla yful calaca/skeleton spirit. \;

The celebration traditionall y takes place on November 1st. Nine days before\, tombs are swept and decor ated with flowers\, and on November 1st\, altars are set with photographs o f the deceased\, and the delicious food that awaits the tired souls that co me from Miktlan\, land of the dead. On the altars are sugar skulls\, colorf ul tissue paper cut-outs\, marigolds\, candles\, water and the favorite foo ds and beverages for the departed. In some towns such as Ocotepec\, Morelos \, the elder\, still invites the spirit of the dearly departed relative\, t o come to dinner. This tradition\, however\, comes from an ancient practice recorded in the có\;dices\, in which the elder climbed on the roofto p of the family house\, and facing North\, invoked the spirit of the ancest or to come to the feast\; this &ldquo\;Invocation to the Four Winds and Cal ling of the Spirits&rdquo\; will be enacted by UCLA students. Live music wi ll be presented and traditional Pan-Dulce (Mexican sweet bread) as well as Mexican hot chocolate will be served. Food vendors will be present (cash on ly).

**Community members are encouraged to bring personal mement o for community altar!

DTEND:20161030T190000 DTSTAMP:20160928T215251 DTSTART:20161030T160000 GEO:33.9915148;-118.4586206 LOCATION:Social and Public Art Resource Center (SPARC)\,685 Venice Bl \nVen ice \, CA 90291 SEQUENCE:0 SUMMARY:SPARC-UCLA's Annual Día de los Muertos | Day of the Dead\, SPARC’s Artist in Residence\, Martha Ramirez-Oropeza\, and her UCLA’s César E. Cháv ez Chicana/o Studies Department students UID:429400 END:VEVENT BEGIN:VEVENT DESCRIPTION:

After months of creative collaboration\, Angels Gate Cultura l Center will unveil a much anticipated event with Avenue 50 Studio and The Arroyo Arts Collective: On The Map: Artists Maps from Opposit e Ends of the 110 Freeway\, an Ancient Route Reconnected. The exhibiti on will take place in two places simultaneously\; Avenue 50 Studio located in the Highland Park neighborhood of Los Angeles and Angels Gate Cultural C enter in San Pedro. Curators from the three participating organizations cre ated an open call for maps created by artists that live and work at opposit e ends of the 110 Freeway in Los Angeles. The twenty selected proposals wil l be hosted by the organization at the other end of the highway from the ar tists\; the artwork itself tracing the road that was once traveled by nativ e Tongva\, the Spanish wagon\, the stagecoach route and early trains. \ ;

DTEND:20161218 DTSTAMP:20160928T215251 DTSTART:20161105 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:On The Map: Artists Maps from Opposite Ends of the 110 Freeway\, an Ancient Route Reconnected. UID:429287 END:VEVENT BEGIN:VEVENT DTEND:20161105T170000 DTSTAMP:20160928T215251 DTSTART:20161105T130000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:On The Map: Artists Maps from Opposite Ends of the 110 Freeway\, an Ancient Route Reconnected. UID:429288 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20170114 DTSTAMP:20160928T215251 DTSTART:20161116 GEO:33.984684;-118.4706679 LOCATION:L.A. Louver\,45 North Venice Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Roll Call: 11 Artists from L.A.\, Alex Kizu\, Marquis Lewis\, Patri ck Martinez\, Jose Reza (Prime)\, Jesse Simon\, Richard P. Wyrgatsch II (Sl ick)\, Chaz Bojórquez\, David Cavazos (Big Sleeps)\, Fabian Debora\, Ricard o Estrada\, Gajin Fujita UID:429193 END:VEVENT BEGIN:VEVENT DTEND:20161116T200000 DTSTAMP:20160928T215251 DTSTART:20161116T180000 GEO:33.984684;-118.4706679 LOCATION:L.A. Louver\,45 North Venice Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Roll Call: 11 Artists from L.A.\, Chaz Bojórquez\, David Cavazos (B ig Sleeps)\, Fabian Debora\, Ricardo Estrada\, Gajin Fujita\, Alex Kizu\, M arquis Lewis\, Patrick Martinez\, Jose Reza (Prime)\, Jesse Simon\, Richard P. Wyrgatsch II (Slick) UID:429194 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161001 DTSTAMP:20160928T215251 DTSTART:20160713 GEO:33.984684;-118.4706679 LOCATION:L.A. Louver\,45 North Venice Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Skyroom: Matt Wedel\, Matt Wedel UID:429192 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jim Blanchard &lsquo\;s work from 1982&ndash\;2002 intersected with punk rock\, grunge\, psychedelia\, alternative comics\, &ldquo\;zine&rdquo\; culture\, portraitu re\, and &ldquo\;girlie&rdquo\; art. The newly released Visual Abuse gathers Blanchard&rsquo\;s art into a cohesive whole\; one section assembles the best of Blanchard&rsquo\;s LP covers\, posters an d flyers from the hardcore punk era through grunge\, including iconic Black Flag\, Nirvana\, and Soundgarden posters.

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This exhibition is a survey of the many aspects of Jim&rsquo\;s work that prove his place among the poster art greats. Augmenting the posters ar e the original drawings and paintings that became his most iconic images. DTEND:20161030 DTSTAMP:20160928T215251 DTSTART:20161007 GEO:34.100466;-118.28998 LOCATION:La Luz de Jesus Gallery\,4633 Hollywood Blvd. \nLos Angeles\, CA 9 0027 SEQUENCE:0 SUMMARY:Visual Abuse\, Jim Blanchard UID:429190 END:VEVENT BEGIN:VEVENT DTEND:20161007T230000 DTSTAMP:20160928T215251 DTSTART:20161007T200000 GEO:34.100466;-118.28998 LOCATION:La Luz de Jesus Gallery\,4633 Hollywood Blvd. \nLos Angeles\, CA 9 0027 SEQUENCE:0 SUMMARY:Visual Abuse\, Jim Blanchard UID:429191 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Inspired by a childhood that w as split between a strict Australian boarding school and the colorful envir onment of the circus where his father worked\, Sonny King creates vibrant renditions of big-top life that take viewers back in time. His work captures beautifully the bustling activity and energy of the circu s\, offering perspectives from both inside and outside the tent in scenes t hat are dramatic\, dynamic\, and carefully arranged. Delightfully animated figures&ndash\;aerialists\, clowns\, and enthusiastic show-goers&ndash\;inh abit his three-dimensional creations and paintings. Each scene reflects Kin g&rsquo\;s eye for specifics\, as he lavishly embellishes every section of a work. A love of bold colors and experimental lighting are distinctive of his style.

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Other subjects\, including small-town life\, have inspired Sonny to create lively\, folksy dioramas. On his thoughtfully rendered presentations\, telling moments come together in ways that are touching yet never overly sweet. His work pays tribute to the past without hovering in sentimentality. Several of the pieces in this exhibition were part of a mini-retrospective at the California Folk Art Mus eum\, and \;his animatronic Ferris Wheel is sure to satisfy Carny \;fans of all ages.

DTEND:20161030 DTSTAMP:20160928T215251 DTSTART:20161007 GEO:34.100466;-118.28998 LOCATION:La Luz de Jesus Gallery\,4633 Hollywood Blvd. \nLos Angeles\, CA 9 0027 SEQUENCE:0 SUMMARY:Silver’s Circus\, Sonny King UID:429188 END:VEVENT BEGIN:VEVENT DTEND:20161007T230000 DTSTAMP:20160928T215251 DTSTART:20161007T200000 GEO:34.100466;-118.28998 LOCATION:La Luz de Jesus Gallery\,4633 Hollywood Blvd. \nLos Angeles\, CA 9 0027 SEQUENCE:0 SUMMARY:Silver’s Circus\, Sonny King UID:429189 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Tamara \;Hender son&rsquo\;s writings\, sculptures\, 16mm films and paintings often refer t o dreamscapes that the artist reconstructs in the exhibition space. She cre ates sculptures inspired by a process of notating ideas while under hypnosi s\, and her films are surrealist tales of passage\, transformation and deca y\, in which objects and images are personified and imbued with the artist& rsquo\;s personal history and memories. Henderson collects objects from var ious sources\, including found and recycled items and gifts gathered throug hout her travels\, and assembled into large-scale installations.

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Henderson&rsquo\;s first solo exhibi tion on the West Coast includes an expanded version of Seasons End \, the ambitious installation she premiered at the 2016 Glasgow Internation al\, as well as a selection of the artist&rsquo\;s films and other works. H enderson&rsquo\;s recent research focuses on past and present totems\, seas onal change\, pagan gods and goddesses\, fairies and scarecrows. \;&nbs p\;She has been working with the figure of the garden photographer\, as wel l as a lofty body of plants\, wood and fabric\, captured as memories using a pinhole camera apparatus. &ldquo\;While she stands she remembers\; while she remembers she photographs\; her nervous system is a system of flash-bul bs.&rdquo\; \;

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Abo ut the artist:

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Ta mara Henderson is an artist from Sackville\, Canada who lives and works in an itinerant fashion. Her work has been seen in group exhibitions at Glasgo w International (2016)\, Rodeo\, Istanbul (2013)\, dOCUMENTA (13)\, Kassel (2012)\; On the Tip of My Tongue\, Magasin 3 (2013)\, Western Front\, Vanco uver (2013). Recent Solo Exhibitions include: Evergreen Minutes of the Phan tom Figure at Nuremberg Kunstverein (2013)\; Bottle Under the Influence (wi th Julia Feyrer)\, Walther Philips Gallery. Henderson was also a short-list finalist for the Sobey Award (2013). Upcoming exhibitions include Galerie Nordenhake in Stockholm\, Apartment\, Vancouver\, and Graz Kunstverein\, Au stria. \;

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Produced i n part with Glasgow International.

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DTEND:20161216 DTSTAMP:20160928T215251 DTSTART:20161015 GEO:34.0551542;-118.2506936 LOCATION:REDCAT\,631 West 2nd St. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Solo Exhibition\, Tamara Henderson UID:429186 END:VEVENT BEGIN:VEVENT DTEND:20161015T210000 DTSTAMP:20160928T215251 DTSTART:20161015T180000 GEO:34.0551542;-118.2506936 LOCATION:REDCAT\,631 West 2nd St. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Solo Exhibition\, Tamara Henderson UID:429187 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Two days of workshops and even ts featuring Julieta Aranda\, Benjamin Bratton\, Ricardo Dominguez\, Ruth E sté\;vez\, Sohrab Mohebbi\, Stephen Squibb\, Andrew Norman Wilson\, a nd Dena Yago.

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For almost a century\, art has been positioning itself vis-à\;-vis the cultural industry. Bu t today\, with the mass availability of user-friendly media technology at t he tip of our fingers\, that industry is undergoing a mass transformation. How will art respond to the reconfiguration\, and possible collapse of its preferred opponent?

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Will it dismount and take a knee before the evacuated sound stage\, overcome with emotion at the fate of its old counterpart? Will the museum&rsquo\;s staff drive in t riumphant circles at the center of Paramount's lawn? It's not like us to ce lebrate. How will we greet our dawn?

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e-flux is pleased to announce the beginning of an open-ended collaboration with REDCAT\, beginning the weekend of October 1-2\, 2016\, in pursuit of t hese and other questions.

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Sun day\, October 2 \; &ndash\; Theory/fiction

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Workshop with Julieta Aranda\, Benjamin Bratton\, and Ri cardo Dominguez

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1:00&ndash\;3:00 pm | Free event. Space is limited\, please RSVP: redcatrsvp@calarts.edu

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Julieta Aranda\, Benjamin Bratton\, and Ricardo Dominguez will hold a workshop considering the contemporary work of theory/fiction.&n bsp\;

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Conversation with Julieta Arand a\, Benjamin Bratton\, and Ricardo Domí\;nguez

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4:00 pm | \;Admission is free and open to the public\;< /p>\n

It has been said that science and phi losophy are linked because they are both theoretical disciplines. By that s ame logic they are also immigration officials\, patrolling the border with fiction. Theory/fiction is the insurgent practice of smuggling ideas across the border.

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Julieta Aranda\, Benjami n Bratton\, and Ricardo Dominguez will hold a workshop considering the cont emporary work of theory/fiction. \;

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Then at 4pm\, Aranda\, Bratton\, and Dominguez will have a public conver sation on the topic.

DTEND:20161002T170000 DTSTAMP:20160928T215251 DTSTART:20161002T130000 GEO:34.0551542;-118.2506936 LOCATION:REDCAT\,631 West 2nd St. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:e-flux journal series at REDCAT - #1: Theory/fiction UID:429185 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Two days of workshops and even ts featuring Julieta Aranda\, Benjamin Bratton\, Ricardo Dominguez\, Ruth E sté\;vez\, Sohrab Mohebbi\, Stephen Squibb\, Andrew Norman Wilson\, a nd Dena Yago.

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For almost a century\, art has been positioning itself vis-à\;-vis the cultural industry. Bu t today\, with the mass availability of user-friendly media technology at t he tip of our fingers\, that industry is undergoing a mass transformation. How will art respond to the reconfiguration\, and possible collapse of its preferred opponent?

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Will it dismount and take a knee before the evacuated sound stage\, overcome with emotion at the fate of its old counterpart? Will the museum&rsquo\;s staff drive in t riumphant circles at the center of Paramount's lawn? It's not like us to ce lebrate. How will we greet our dawn?

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e-flux is pleased to announce the beginning of an open-ended collaboration with REDCAT\, beginning the weekend of October 1-2\, 2016\, in pursuit of t hese and other questions.

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Sat urday\, October 1 &ndash\; The Artist in Crisis

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Workshop with Stephen Squibb and Dena Yago.

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1:30 &ndash\; 3:30 pm | Free event. Space is lim ited\, please RSVP: \;redcatrsvp@calarts.edu

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Co nversation with Julieta Aranda\, Ruth Esté\;vez\, Sohrab Mohebbi\, an d Stephen Squibb. Screening of Ode to Seekers\, 2012 by A ndrew Norman Wilson.

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5:00 pm | Public and free event.

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Recent trends have u rgently raised the question of whether the artist is an artist anymore\, or rather something else. A revolutionary in disguise\, or some kind of organ izer? Do we need the artist to be something distinct with regards to art? O r is it rather to their social milieu that the identity of the artist shoul d refer?

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Stephen Squibb and Dena Yago will hold a workshop considering the fate of the artist-figure in recent c onstellations. [info TBA]

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At 5:00 pm\ , Julieta Aranda\, Ruth Esté\;vez\, Sohrab Mohebbi\, and Stephen Squi bb will have a public conversation introducing the new e-flux journal serie s at REDCAT. Following this\, Andrew Norman Wilson will screen and discuss his new work Ode to Seekers 2012 (HD video\, color\, sound\, 8 min utes 30 seconds\, 2016)

DTEND:20161001T180000 DTSTAMP:20160928T215251 DTSTART:20161001T133000 GEO:34.0551542;-118.2506936 LOCATION:REDCAT\,631 West 2nd St. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:e-flux journal series at REDCAT - #1: The Artist in Crisis UID:429184 END:VEVENT BEGIN:VEVENT DESCRIPTION:

MOCA presents R. H. Quaytm an\, Morning: Chapter 30\, the first major museum survey of work by Ne w York&ndash\;based artist R. H. Quaytman\, organized by MOCA Senior Curato r Bennett Simpson. Consisting primarily of oil painting and silkscreen on p recisely constructed wood panels\, Quaytman&rsquo\;s expansive and ongoing project is organized into site-specific exhibitions that she calls &ldquo\; chapters.&rdquo\; Since 2001\, Quaytman has produced 29 of these bodies of work\, each drawing on narratives that reference the exhibition location\, and all sharing the artist&rsquo\;s now-signature attention to the intersec tion of craft\, life\, and a vast network of intellectual and artistic inte rests. Featuring approximately 65 paintings selected from the past 10 years \, including one complete &ldquo\;chapter&rdquo\; from 2011 and a significa nt cycle of new work made in response to MOCA and its collection\, this exh ibition is both an in-depth assessment and\, as its title suggests\, a kind of new beginning.

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A point of departure for Quaytman&rsquo\;s newest p aintings is Michael Heizer&rsquo\;s seminal earthwork Double Negative (1969&ndash\;70)\, a 240\,000-ton excavation and displacement of rhyoli te and sandstone that takes the form of two trenches cut into the eastern e dge of Nevada&rsquo\;s Mormon Mesa. At the outset of researching her exhibi tion for Los Angeles\, Quaytman was drawn in by the mythology surrounding t he North American desert and Double Negative&rsquo\;s particularly complicated relationship to MOCA\, as an artwork held in the museum&rsquo\ ;s collection but one that will always and forever be outside the museum&rs quo\;s walls. In late 2015\, Quaytman traveled to southern Nevada to view H eizer&rsquo\;s work\, capturing the austere landscape of rock\, sand\, and light with her Fuji FP-1 instant camera. The resulting photographs serve as a leaping-off point for a group of 22 silkscreen-and-gesso paintings being produced for R. H. Quaytman\, Morning: Chapter 30. As a painter w hose works are exclusively site-specific&mdash\;all produced in response to institutional\, geographic\, or discursive sites and their related subject s&mdash\;Quaytman is also rigorously engaged in a process of excavation as she digs out histories that are often underrepresented or marginal and\, th rough the sheer beauty of her paintings\, compels us to look.

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R. H. Quaytman\, Morning: Chapter 30 will be accompanied by a fully illustrated catalogue\, copublished by MOCA and DelMonico Books ∙ Prestel\, which will constitute the most comprehensive an d scholarly examination of the artist&rsquo\;s work to date. This book feat ures selections from Quaytman&rsquo\;s extensive photographic archive\, pub lished here for the first time\, alongside new essays by Simpson\, art hist orian Yve-Alain Bois\, and philosopher Juliane Rebentisch.

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R.H. Quaytman\, Morning: Chapter 30 is organ ized by MOCA Senior Curator Bennett Simpson\, with Curatorial Assistant Reb ecca Matalon.

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Lead support is provide d by The Andy Warhol Foundation for the Visual Arts.

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Major support is provided by Miguel Abreu Gallery\, Gladsto ne Gallery\, Karyn Kohl\, and the MOCA Projects Council.

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Generous support is provided by Lonti Ebers\, and Agnes and Edward Lee.

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Additional support i s provided by Galerie Buchholz\, and Roland Augustine and Lawrence Luhring.

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Exhibitions at MOCA are supported by the MOCA Fund for Exhibitions with lead annual support provided by Delta A ir Lines\, Shari Glazer\, Hä\;stens\, and Sydney Holland\, founder of t he Sydney D. Holland Foundation. Generous funding is also provided by Jerri and Dr. Steven Nagelberg\, and Thao Nguyen and Andreas Krainer.

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In-kind media support is provided by KCETLink a nd Los Angeles magazine.

DTEND:20170206 DTSTAMP:20160928T215251 DTSTART:20161016 GEO:34.052871;-118.250842 LOCATION:MOCA (Museum of Contemporary Art) at Grand Ave.\,250 S. Grand Ave. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Morning: Chapter 30\, R.H. Quaytman UID:429182 END:VEVENT BEGIN:VEVENT DTEND:20161016T180000 DTSTAMP:20160928T215251 DTSTART:20161016T110000 GEO:34.052871;-118.250842 LOCATION:MOCA (Museum of Contemporary Art) at Grand Ave.\,250 S. Grand Ave. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Morning: Chapter 30\, R.H. Quaytman UID:429183 END:VEVENT BEGIN:VEVENT DESCRIPTION:

s torefront: is a project initiated by MOCA Chief Curator Helen Moleswor th that invites artists and artist collectives to inhabit the anteroom spac e of The Marcia Simon Weisman Works on Paper Study Center on the plaza leve l of MOCA Grand Avenue. It is an opportunity for MOCA to reimagine what it means to be &ldquo\;the artist&rsquo\;s museum&rdquo\; in a city filled wit h artist-run spaces and initiatives. Following Imitation of Wealth by Noah Davis and Public Fiction&rsquo\;s The Poet and The Critic\, and the missing\, storefront: Paradise Garage presents a collab orative project by Swiss artist Anina Troesch and Berlin-based artist Renau d Jerez.

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Paradise Garage was a galler y founded by artists Liz Craft and Pentti Monkkonen in the garage of their home in Venice\, California. During the gallery&rsquo\;s short run between 2012 and 2015\, its easygoing ambience was manifest in a free-form program that embraced standard solo and group exhibitions\, as well a artist-run te xtile workshops and the presentation of a faux bodega full of artist-made g oods. The gallery was also known for its active exchange with young Europea n artists. While other local exhibition spaces focused on talent drawn from Los Angeles&rsquo\;s many art schools\, Paradise Garage took an internatio nal approach that synched perfectly with the rise of the city as a global a rt destination.

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In keeping with this emphasis on the international\, storefront: Pa radise Garage presents the work Stinky. T he water is rotten. (2016)\, by Troesch and Jerez. They transform the window of the storefront: space into an i lluminated portal seen in the bulbous eyes of a museum-sized creature. The work plays on the fantastical landscape of downtown LA and captures a fract al-like world of domestic interiors and city streets.

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storefront: Paradise Garage is organized by MOCA Senior Curator Bennett Simpson\, with Executive As sistant to the Chief Curator Hana Cohn.

DTEND:20161218 DTSTAMP:20160928T215251 DTSTART:20160711 GEO:34.052871;-118.250842 LOCATION:MOCA (Museum of Contemporary Art) at Grand Ave.\,250 S. Grand Ave. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:storefront: Paradise Garage UID:429181 END:VEVENT BEGIN:VEVENT DESCRIPTION:

MOCA presents Mickalene Th omas: Do I Look Like a Lady?\, an exhibition of new and recent work by New York&ndash\;based artist Mickalene Thomas. For this exhibition\, Thoma s has created a group of silkscreened portraits to be featured alongside an installation inspired by 1970s domestic interiors\, and a two-channel vide o that weaves together a chorus of black female performers\, past and prese nt\, including standup comedians Jackie &ldquo\;Moms&rdquo\; Mabley and Wan da Sykes\, and pop-culture icons Eartha Kitt and Whitney Houston. An incisi ve\, moving\, and at times riotous portrait of the multiplicities of womanh ood\, Do I Look Like a Lady? builds upon Thomas&rsquo\;s ongoing r econsideration of black female identity\, presentation\, and representation through a queer lens. This exhibition is organized by MOCA Curatorial Assi stant Rebecca Matalon\, with Executive Assistant to the Chief Curator Hana Cohn.

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Over the last decade\, Thomas h as produced sumptuous\, ecstatic\, and excessively tactile paintings\, phot ographs\, collages\, films\, and installations. The surfaces of her unabash edly decorative and vibrantly colored paintings of interiors and landscapes are often overlaid with rhinestones\, applied as contour or in lavish\, al l-over fields. Thomas plays with perspective\, layering fractured geometric shapes that reference the early cubist compositions of Romare Bearden. In her signature painted and photographic portraits of family\, friends\, love rs\, and pop-culture icons\, Thomas draws on and deconstructs 19th- and 20t h-century traditions of portraiture\, replacing the ubiquitous white female nude with voluptuous African American women. Rather than being objects of a spectator&rsquo\;s gaze\, Thomas&rsquo\;s women look back. They are self- possessed\, socially and sexually empowered. Often draped in richly hued sw aths of fabric\, they pose with arms and legs extended atop sofas embellish ed with layers of animal prints\, oversized flowers\, and checkerboard patt erns. Thomas&rsquo\;s eroticism emerges via the dé\;cor of these lush scenes\, set in densely furnished living rooms accented with patchwork fab rics\, wood paneling\, kitsch wallpaper\, and animal skin rugs to recall 19 70s domestic interiors. More recently\, she has begun transforming these ba ckdrops into immersive installations\, creating three-dimensional tableaux that humorously riff on the museological tradition of the period room. Rich with allusion\, Thomas&rsquo\;s environments also build upon and expand he r interest in how private domestic spaces function as sites of self-fashion ing and display\, and how class and taste are embedded in the objects we ch oose to surround ourselves with.

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Mickalene Thomas: Do I Look Like a Lady? is organized by MOCA Curatori al Assistant Rebecca Matalon\, with Executive Assistant to the Chief Curato r Hana Cohn.

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The project is made poss ible by The Director's Commissioning Fund.

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Lead support is provided by The Sydney Irmas Exhibition Endowment.

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Generous support is provided by Rachel and Jean-Pierre Lehmann Collection\, and Lehmann Maupin\, New York and Hong Kong.

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Exhibitions at MOCA are suppor ted by the MOCA Fund for Exhibitions with lead annual support provided by D elta Air Lines\, Shari Glazer\, Hä\;stens\, and Sydney Holland\, founde r of the Sydney D. Holland Foundation. Generous funding is also provided by Jerri and Dr. Steven Nagelberg\, and Thao Nguyen and Andreas Krainer.

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In-kind media support is provided by KCET Link and Los Angeles magazine.

DTEND:20170206 DTSTAMP:20160928T215251 DTSTART:20161016 GEO:34.052871;-118.250842 LOCATION:MOCA (Museum of Contemporary Art) at Grand Ave.\,250 S. Grand Ave. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Do I Look Like a Lady? \, Mickalene Thomas UID:429179 END:VEVENT BEGIN:VEVENT DTEND:20161016T180000 DTSTAMP:20160928T215251 DTSTART:20161016T110000 GEO:34.052871;-118.250842 LOCATION:MOCA (Museum of Contemporary Art) at Grand Ave.\,250 S. Grand Ave. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Do I Look Like a Lady? \, Mickalene Thomas UID:429180 END:VEVENT END:VCALENDAR