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Ruth Bachofner Gallery is pleased to present an exhibition o f new paintings by Jennifer Faist. There will be a reception for the artist Saturday\, April 18\, 5 - 7 PM.

Jennifer Faist creates perfec tly smooth\, reflective paintings that draw viewers into their vibrant\, sh immering depths. While the artist's meticulously crafted work recalls the p ractices of the Finish Fetish work of the &lsquo\;60s\, Faist curbs pure ma teriality and infuses her work with personal resonance.

Aimin g to feminize the Minimalists that she admires\, Faist approaches her work with a dedication to material integrity that also holds an emotional core. Alluding to nostalgia and memory\, the artist appropriates patterns from cl othing with which she associates specific\, personal memories. The fabrics Faist uses have been collected over many years\, and belong to her or peopl e close to her. The artist renders her chosen textile designs in fine detai l and gradually envelopes the original form beneath layers of colored acryl ic glazes. Each painting\, suspended in resin on thick wood supports\, beco mes a relic of her past. Having just lost a parent to Alzheimer's disease\, she has a particular interest in the process and meaning of recollection.< br />
&ldquo\;Our closets are treasure troves of memories\,&rdquo\; Faist states\, &ldquo\;and\, as every garment is a reminder\, every paintin g of these fabric patterns serves as a memento. The trompe l'oeil patterns buried in the depths of the paintings spark reflection on remnants of the p ast\, but also the shiny surfaces literally reflect fragments of their pres ent surroundings and the viewers themselves.&rdquo\;

Jennifer Faist received her MFA from Claremont Graduate University. She lives and wo rks in Los Angeles.

DTEND:20150530 DTSTAMP:20150418T090959 DTSTART:20150418 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Some Things Are Hard To Remember\; Some Things You'll Never Forget\ , Jennifer Faist UID:381067 END:VEVENT BEGIN:VEVENT DTEND:20150418T190000 DTSTAMP:20150418T090959 DTSTART:20150418T170000 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Some Things Are Hard To Remember\; Some Things You'll Never Forget\ , Jennifer Faist UID:381068 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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Pacific Sto ner Time: Pot in L.A. Weekend is a collaboration of Daniel Rolni k Gallery and Pengu Labs\, bringing together the best psychedelic and i rreverent minds for a 3 day pop-up exhibition. Opening Saturday 4/18\, and culminating in a 420 Takeover\, Pacific Stoner Time explores the significan ce of altering your brainwaves and chilling out.

Opening Recept ion 4/18 \;7pm
Stoner Time Artist Hangout 4/19 \;4pm
Sleepa way Camp 420 Takeover 4/20 \;7pm

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artists:\n

Jessicka Addams
Barefoot Lazer Tie-Dye
Om Bleich er \;
Dave Bondi
Kristina Collantes
Keith Dugas
Steven Fiche
Ch ampoy Hate
Hellen Jo
Keenan Marshall Keller
Nora Keyes
Nic ole Killian
Tom Neely
Beth Pecora
Pengu Labs
John PhamAdam Roth
Shaq Jizz
Malcolm Stewart \;
Jen Tong
Tripple U

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Daniel Rolnik Gallery
1431 Ocean Ave\, Suite 1800\, Santa Monica\, CA 90401 Gallery Hours: 12-7pm every day http://pacificstonertime.tumblr.com/

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About the event:

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Daniel Rolnik Gall ery\, run by the "world's most adorable art critic" has teamed up with Pengu Labs: an interactive art/media lab whose members operated Home Room< /a> &\; L'KEG Galle ry (Best of LA 2009). They've assembled their favorite psychedelic and irreverent artists for a 3 day pop-up event that picks up where the Getty's Pacific Standard Time initiative \;leaves off. Pacific \; Stoner \;Time pays tribute to the source of inspiration for many of the world's greatest art pieces: marijuana. After Saturday's opening reception \, a collection of the artists will be back in the space for a Sunday after noon hangout session\, swapping stories and slices of pizza. The weekend cl oses out with a Monday night 420 takeover\, curated by \;Sleepaway Camp\, who were lauded by LA Weekly as providing the "wildes t Tuesday night you've ever had."

DTEND:20150420 DTSTAMP:20150418T091000 DTSTART:20150418 GEO:34.0136324;-118.4969025 LOCATION:Daniel Rolnik Gallery\,1431 Ocean Ave. \nSanta Monica\, CA 90401 SEQUENCE:0 SUMMARY:Pacific Stoner Time\, Shaq Jizz\, Adam Roth\, John Pham\, Pengu Lab s\, Beth Pecora\, Tom Neely\, Nora Keyes\, Keenan Marshall Keller\, l Helle n Jo\, Jason Hil\, Champoy Hate\, Joseph Florence\, Steven Fiche\, Keith Du gas\, Leah C Dixon\, Airom Bleicher\, Jessicka Addams\, Malcolm Stuart\, Je n Tong\, Tripple U UID:381065 END:VEVENT BEGIN:VEVENT DTEND:20150418T220000 DTSTAMP:20150418T091000 DTSTART:20150418T190000 GEO:34.0136324;-118.4969025 LOCATION:Daniel Rolnik Gallery\,1431 Ocean Ave. \nSanta Monica\, CA 90401 SEQUENCE:0 SUMMARY:Pacific Stoner Time\, Jessicka Addams\, Airom Bleicher\, Leah C Dix on\, Keith Dugas\, Steven Fiche\, Joseph Florence\, Champoy Hate\, Jason Hi l\, Shaq Jizz\, l Hellen Jo\, Keenan Marshall Keller\, Nora Keyes\, Pengu L abs\, Tom Neely\, Beth Pecora\, John Pham\, Adam Roth\, Malcolm Stuart\, Je n Tong\, Tripple U UID:381066 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Patrick Painter\, Inc. is pleased to present\, &ldquo\;Alter ed States\,&rdquo\; a group exhibition featuring artwork by Justin Bower\, VALIE EXPORT\, Mike Kelley\, Martin Kippenberger and Rinus Van de Velde. Th e exhibition will showcase each of the five artists&rsquo\; unique vision o f an altered reality.

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In his first exhibition with Patrick Painter\ , Inc.\, Justin Bower presents us with deconstructed\, somewhat hallucinato ry images of pseudo-human faces. Bower&rsquo\;s interest lies in the rapid digitization of humanity\, and its affect on society at large. Humans funct ion in a world of ubiquitous technological advances\, and what Bower calls &ldquo\;control society.&rdquo\; Coupled with repeated Op Art patterns\, Bo wer&rsquo\;s paintings show the destabilization of the figure through the d oubling of features - multiple eyes\, spliced noses\, melting mouths\, and expressionist brushwork.

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Viennese artist VALIE EXPORT has been chal lenging gender stereotypes and societal constructs in her work since the 19 60s. Arguably EXPORT&rsquo\;s most iconic work\, Action Pants: Genital Pani c (1969/2001)\, stood at the forefront of the European feminist art movemen t. Inspired by arthouse cinema and auteurism\, the image is a photographic documentation of a performance EXPORT did at an experimental theater. EXPOR T confronts the viewer with conflicting messages\, and turns the traditiona l art historical image of woman as object on its head.

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Iconic Los A ngeles artist Mike Kelley left behind an enormous body of work that include d an array of photographic pieces. From 2001\, Black Out (Detroit River) 1- 8 consists of eight panels\, each showing a different section of the Detroi t River. Large portions of each panel are blacked out (due to a camera malf unction)\, offering only glimpses of what was intended to be a panoramic vi ew. Here Kelley critiqued &ldquo\;pop&rdquo\; psychology theories such as r epressed memory syndrome\, and draws a parallel between these obscured port ions and the lapses caused by repressed memories.

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Inspired by a kin d of contemporary fiction\, Rinus Van de Velde&rsquo\;s large\, highly rend ered charcoal on canvas pieces focus on central characters within a more co mplex narrative. Here Van de Velde focuses on a fictionalized alter-ego\, a nd his search for a young writer who has gone missing. The drawing and desc riptive titles present the artist&rsquo\;s fruitless attempt to locate his friend\, and his isolation as he draws out the contradictory traces left be hind by his disappearance. Van de Velde&rsquo\;s work melds art historical precedent and a reinterpretation of the drawing medium.

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Justin Bowe r has recently exhibited at UNIX Gallery in New York\, and Ace Gallery in L os Angeles. VALIE EXPORT&rsquo\;s work is currently on exhibit at Tanja Gru nert Gallery\, New York\, and the Hamburger Kunsthalle in Hamburg\, Germany . Mike Kelley&rsquo\;s work was recently featured in a multi-museum traveli ng retrospective\, and at Skarstedt Gallery in New York. Martin Kippenberge r&rsquo\;s work was recently exhibited at Galerie Gisela Capitan\, Cologne\ , and Skarstedt Gallery in New York. Rinus Van de Velde has exhibited at ma jor international museums including the Stedelijk in Amsterdam\, and has a forthcoming exhibition at SMAK\, Ghent.

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Please join us for the Open ing Reception on Saturday\, April 25th from 6-8pm \;

DTEND:20150523 DTSTAMP:20150418T091000 DTSTART:20150425 GEO:34.0276049;-118.4678444 LOCATION:Patrick Painter Inc.\,Bergamot Station 2525 Michigan Ave. # B2\nSa nta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Altered States\, Justin Bower\, Valie Export\, Mike Kelley\, Martin Kippenberger\, Rinus van de Velde UID:381035 END:VEVENT BEGIN:VEVENT DTEND:20150425T200000 DTSTAMP:20150418T091000 DTSTART:20150425T180000 GEO:34.0276049;-118.4678444 LOCATION:Patrick Painter Inc.\,Bergamot Station 2525 Michigan Ave. # B2\nSa nta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Altered States\, Justin Bower\, Valie Export\, Mike Kelley\, Martin Kippenberger\, Rinus van de Velde UID:381036 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150530 DTSTAMP:20150418T091000 DTSTART:20150418 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:PAPER\; GROUND\, Emily Davis Adams\, Lorenzo Hurtado Segovia\, Jenn ifer Wynne Reeves\, Mira Schor\, Craig Taylor UID:380977 END:VEVENT BEGIN:VEVENT DTEND:20150418T180000 DTSTAMP:20150418T091000 DTSTART:20150418T150000 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:PAPER\; GROUND\, Emily Davis Adams\, Lorenzo Hurtado Segovia\, Jenn ifer Wynne Reeves\, Mira Schor\, Craig Taylor UID:380978 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150530 DTSTAMP:20150418T091000 DTSTART:20150418 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Dystopia\, Merion Estes UID:380975 END:VEVENT BEGIN:VEVENT DTEND:20150418T180000 DTSTAMP:20150418T091000 DTSTART:20150418T150000 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Dystopia\, Merion Estes UID:380976 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150606 DTSTAMP:20150418T091000 DTSTART:20150501 GEO:34.0834999;-118.3333886 LOCATION:Thomas Duncan Gallery\,6109 Melrose Avenue \nLos Angeles\, CA 9002 8 SEQUENCE:0 SUMMARY:American Painting\, Verena Dengler UID:380950 END:VEVENT BEGIN:VEVENT DTEND:20150501T200000 DTSTAMP:20150418T091000 DTSTART:20150501T180000 GEO:34.0834999;-118.3333886 LOCATION:Thomas Duncan Gallery\,6109 Melrose Avenue \nLos Angeles\, CA 9002 8 SEQUENCE:0 SUMMARY:American Painting\, Verena Dengler UID:380951 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Nicodim Gallery is pleased to present our third solo exhibition of new work by Adrian Ghenie\, who is rep resenting Romania at the 56th Venice Biennale. The exhibition will be on vi ew from April 18 through June 2\, with an opening reception on April 18 fro m 4-7 pm at our new downtown location.

A painting is not a windo w.

Daubing away at an insane asylum in the South of France\, Van Gogh could not\, in his wildest fever dreams\, imagine 'Irises' adorning y our aunt&rsquo\;s tea towels\, nor 'Starry Night' as Venice Beach photo-op mural. Adrian Ghenie smears a gooey brush through a museum full of history\ , carefully prodding the tenderest parts\, the darkest moments. Eugenics an d slapstick are equally culled. The ineffability \;of genocide might be limned by a childhood tchotchke\, a &ldquo\;good&rdquo\; painting of a dic tator might be taken as a dare.

In the wake of Ceaușescu\, Gheni e spackles the lacunae of his formal education at will. Fuck the brush. Ins tead he favors the palette knife to whip\, frost\, and smear cultural memor y with lived experience. Now and again the unruly swirls of color stop shor t against the cliff of a stencil&rsquo\;s edge\, delineating the brim of a hat\, the curve of a jacket\, the gnarled border of face where an ear shoul d have been. Layer by layer\, his paintings incorporate the compromises of vision&mdash\;by faulty recollections\, by redacted histories\, by flawed p hoto reproductions gazed at by candlelight&mdash\;resulting in a polysemy o f iconic appropriations.

From classic cinema to social media to civic archives\, Ghenie jabs his knife. They all bleed mercilessly\, but no thing dies that wasn&rsquo\;t already a ghost. The freeplay is nudged onwar d. With a twist of the trowel\, he pries off an iconic face and tries it on for size. Hitler takes a pie in the kisser. Sploogy rain begs innuendo.

This is not a window. This is life\, the wet smack of a body again st the edifice of history.

DTEND:20150602 DTSTAMP:20150418T091000 DTSTART:20150418 GEO:34.0502898;-118.2117257 LOCATION:Mihai Nicodim Gallery\,571 South Anderson Street Entrance on Black welder\nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Solo Exhibition\, Adrian Ghenie UID:380948 END:VEVENT BEGIN:VEVENT DTEND:20150418T190000 DTSTAMP:20150418T091000 DTSTART:20150418T160000 GEO:34.0502898;-118.2117257 LOCATION:Mihai Nicodim Gallery\,571 South Anderson Street Entrance on Black welder\nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Solo Exhibition\, Adrian Ghenie UID:380949 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150530 DTSTAMP:20150418T091000 DTSTART:20150417 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Vanishing Point\, Rob Reynolds UID:380946 END:VEVENT BEGIN:VEVENT DTEND:20150417T210000 DTSTAMP:20150418T091000 DTSTART:20150417T190000 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Vanishing Point\, Rob Reynolds UID:380947 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Chicago-based performance arti st Keijaun Thomas comes to Los Angeles to present Partitions of Separat ion and Trespassing. $10-15 donation at the door\; 6-8PM

Pa rtitions of Separation and Trespassing

Section 1. Selective Seei ng \;
Part 2. Looking While Seeing Through \;
Section 2. Painted Images\, Colored Symbols \;
Part 3. Sweet like Honey\, Bla ck like Syrup \;

In 4 zones\, where one is sometimes 3rd\, 3 rd is four and sometimes two is 1st. \;
Thomas is constantly think ing about placement\, our placement\, lack of place\, here. \;
The structure cannot be pure(ly) viewed as linear\, horizontal nor vertical.&n bsp\;
Moving through space\, spreading materials&mdash\; poring sugar and coffee like a stream of piss. \;
You can taste it\, bitter and sweet. If I am looking at you from a pile of green A3 land \;
sta cked high like a hill\; I see you from a distance. Distance is Not Separati on. \;
In four zones\, through a panel of glass covered in textual lube\, thick\, not separate. \;
I see your yellow boots\, your bl ack hair\, synthetic texture sticking like a cracker on honeyed flesh.  \;
Can you feel it? \;

I am in Florida riding through a thick haze of red and black smoke. A controlled\, wild forest fire. \;
If you see the smoke rising on an idle Sunday in Los Angeles\, know t hat I see it\, too. \;
If only from a distance. The Poetics of Tre spassing. Stomach pressed to the floor\, sneaky. Whatchu looking at? Us.
Painted like syrup on a black box chest\, filtered with vaseline\, stick y. \;
Athletes on plantation grounds\, clean it up. Denim trousers \, hands and knees\, watch your step. Go! \;
Broom-heads leaving f lour tracks. You can hear it. Competition\, who can collect the most. \ ;
I'm not picking for them\, I'm picking for us. Us is expansive\, exp ensive. Yaki premium. Now. \;

Distance speaks towards motion \, motion moves towards proximity\, proximity asks why\, here? \;
Separation ask for proximity\, proximity moves towards motion\, motion is a gesture of movement
that speaks a language presented over a distance. You're not suppose to be here. Queering images \;
that we see or choose to see and how they function from place to place\, over distances\, through barriers. \;
I'm not picking for them\, I'm picking for us . Clothes line\, hanging. Watch them dry\, watch them die. \;
Blac k tissue paper covering building blocks. Cardboard on the front line. When you hear the fireworks \;
cracking beneath your feet on an bustlin g Sunday in LA\, Get ready.

DTEND:20150419T200000 DTSTAMP:20150418T091000 DTSTART:20150419T180000 GEO:34.0675686;-118.2356123 LOCATION:Human Resources\,410 Cottage Home St. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Partitions of Separation and Trespassing\, Keijaun Thomas UID:380945 END:VEVENT BEGIN:VEVENT DESCRIPTION:

FOR IMMEDIATE RELEASE

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BREND AN MURPHY | \;Opposite Relevance: A Remix of Solutions

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April 18 &ndash\; June 27\, 2015

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Opening Reception with Artist in Attendance: April 18\, 6-8pm&nbs p\;

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KM FINE ARTS | LOS ANGELES

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Los Angeles\, CA \;(March 28\, \;2015) -&nbs p\;KM Fine Arts \;is pleased to announce \;Opposite Relevance: A Remix of Solutions\, a solo exhibi tion of new mixed media paintings by artist \;Brendan Murphy\, on view from April 18\, 2015 &ndash\; June 27\, 2015 at the galler y&rsquo\;s West Hollywood location at 814 North La Cienega Blvd\, Los Angel es\, CA 90069. An opening reception will be held on Saturday\, April 18th\, from 6-8pm with the artist in attendance. This will be the artist&rsquo\;s first solo exhibition with the gallery. \;

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Brendan Murphy&rsqu o\;s work focuses on the genuine cultivation of beauty by utilizing color a nd movement to confront life&rsquo\;s experiences. For this exhibition  \;the artist has focused on his chalkboard series. In this series he utiliz es mathematical algorithms\, engineering designs\, text\, and color to lead the viewer through a journey of discovery. His intricate large-format canv ases\, reminiscent of classroom chalkboards and whiteboards\, are simultane ously whimsical and complex. Poetic combinations of words punctuate equatio ns and geometric drawings\, and the striking white-on-black construction is interrupted by splashes of color. Murphy&rsquo\;s paintings display an eff ortless blending of gouache\, oil and acrylic paint to create floating back grounds\, moving pieces\, and a push-pull multi-dimensional visual experien ce.

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To view his work is to embark on a labyrinthine journey towards a place of focused awareness. While it is the visually striking nature of his canvases that first command the viewer's attention\, it is the complexi ty of each painting that encourages one to linger\, as the nuanced voice of the painting continues to reveal itself over time. Each unique work carrie s with it the artist's intention: to bring people back to a genuine state o f emotion rather than one of distraction and detachment.

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Brendan Mu rphy is a former student of renowned painter and sculptor Eric Fischl and h is work can be seen in over 500 private and public art collections internat ionally. Prior to establishing his artistic career\, Murphy spent several y ears working in finance in New York. He soon recognized the potential for f using his new creative profession with his entrepreneurial skills\, which l ed him to found the lifestyle sportswear brand Solfire. Lending imagery fro m Murphy&rsquo\;s paintings\, Solfire is founded under the conviction that arts\, business\, and social initiatives can contribute to making a better world. By living according to this adage\, Murphy has also established hims elf as a philanthropist\, collaborating with other artists and entrepreneur s to help raise significant amounts of money for numerous global non-profit organizations.

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About KM Fine Arts \;

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With prominent locations in Chicago on Oak Street and West Hollywood in Los Angeles\, \;KM Fine Arts\, directed by curator Ana Hol linger\, has been critically acclaimed for its museum-quality exhibitions s ince 2006. The gallery specializes in \;American and European artists o f early modernism\, postwar\, and contemporary art&mdash\;including \;t he movements of \;Abstract Expressionism and \;Color Field painting . \;The gallery program includes works by Georg Baselitz\, Norman Bluhm \, Fernando Botero\, James Brooks\, Alexander Calder\, John Chamberlain\, M ichael Goldberg\, Hans Hofmann\, Robert Indiana\, Wolf Kahn\, Joan Miro\, P ablo Picasso\, Robert Rauschenberg\, and Andy Warhol\, along with contempor ary artists Eric Fischl\, Ramsey Dau\, Carole Feuerman\, Kim Gottlieb-Walke r\, Dana Louise Kirkpatrick\, Gary Lang\, Victor Matthews\, Brendan Murphy\ , Ruth Pastine\, Cole Sternberg\, and Bernie Taupin&mdash\;among others.&nb sp\;

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CONTACTS

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KM Fine Arts | Chicago - Los Angeles

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Ana M. Hollinger&n bsp\; | Director\, Managing Partner

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t:: 312.255.1319

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e: director@kmfinearts.co m

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KM Fine Arts | Los An geles

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Amanda Roberts | Assistant Director\, Los Angeles

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t: 310.854.0540

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e: la@kmfinearts.com

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814 N. La Cienega Blvd

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Los Angeles\, CA 90069

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GALLERY HOURS

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Tuesday - Saturday\, 11am - 6pm\n

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DTEND:20150627 DTSTAMP:20150418T091000 DTSTART:20150418 GEO:34.0856726;-118.3764322 LOCATION:KM Fine Arts\,814 N. LaCienega \nLos Angeles\, CA 90069 SEQUENCE:0 SUMMARY:Brendan Murphy\, "Opposite Relevance: A Remix of Solutions"\, Brend an Murphy UID:380720 END:VEVENT BEGIN:VEVENT DTEND:20150418T200000 DTSTAMP:20150418T091000 DTSTART:20150418T180000 GEO:34.0856726;-118.3764322 LOCATION:KM Fine Arts\,814 N. LaCienega \nLos Angeles\, CA 90069 SEQUENCE:0 SUMMARY:Brendan Murphy\, "Opposite Relevance: A Remix of Solutions"\, Brend an Murphy UID:380721 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For fifteen years\, Matthew Chase-Daniel has created photo-a ssemblages that reflect the dynamic experience of seeing. His grids of imag es represent a temporal\, cinematic unfolding of the visual encounter\, usu ally positioning images that are nearby on the bottom row\, and scanning fu rther into the distance in the upper rows. In 2014\, Chase-Daniel made seve ral extended trips along the coast from Cambria to Point Reyes\, exploring the reaches of the Monterey Bay Wildlife Refuge. Monterey Littoral interprets locations such as Point Lobos and Muir Beach from the minutiae at our feet to the distant scanned horizon. This series also includes a new direction in his work\, tracking Pelicans and Turkey Vultures. Individual images of silhouetted birds\, once composed in grids\, become invented floc king patterns.

DTEND:20150523 DTSTAMP:20150418T091000 DTSTART:20150418 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Monterey Littoral\, Matthew Chase-Daniel UID:380704 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jasmine Swope&rsquo\;s project\, Our Ocean&rsquo\;s Edge aims to promote an awareness and appreciation of the network of Marin e Protected Areas along the California Coast. Working with traditional film encourages Swope to &ldquo\;slow down\, become intimate with the subject\, and allow the picture to present itself almost intuitively.&rdquo\; Her im ages are printed in the palladium process\, affording a subtle range of ton al variations. A new Nazraeli Press publication\, Our Ocean&rsquo\;s Ed ge\, features Swope&rsquo\;s images\, an essay by naturalist author Dw ight Holing\, and a foreword by scientist and wild water advocate\, Dr. Wal lace J. Nichols.

DTEND:20150523 DTSTAMP:20150418T091000 DTSTART:20150418 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Our Ocean's Edge\, Jasmine Swope UID:380702 END:VEVENT BEGIN:VEVENT DTEND:20150425T180000 DTSTAMP:20150418T091000 DTSTART:20150425T160000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Our Ocean's Edge\, Jasmine Swope UID:380703 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For more than four decades\, Connie Jenkins has used water b oth as subject matter and metaphor. She recognizes the ebb and flow of tide s\, like the seasons and other natural cycles\, as fundamental connections to our natural environment. Her recent tide pool paintings also bear a rela tionship to photo-realism but\, as Jenkins explains\, in painting water\, s he has &ldquo\;tried to paint the visual patterns with which our brains con struct images&mdash\;a shared illusion.&rdquo\; The water is rippled and fo amy\, blurring and bending the shapes of the purple sea urchins and green a nemone below. By focusing on a horizonless bird&rsquo\;s-eye view of the wa ter\, Jenkins flattens the image\, making it both an illusionistic represen tation of water\, and an abstraction of paint marks which acknowledge the c anvas as an object. The tide pool&rsquo\;s surface becomes the picture plan e where illusion meets abstraction.

DTEND:20150523 DTSTAMP:20150418T091000 DTSTART:20150418 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Spring Tides\, CONNIE JENKINS UID:380698 END:VEVENT BEGIN:VEVENT DTEND:20150425T180000 DTSTAMP:20150418T091000 DTSTART:20150425T160000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Spring Tides\, CONNIE JENKINS UID:380699 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sunday May 31\, 2015\, 7:30 pm

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Los Angeles Filmforum presents

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James Benning : natural history

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At the Spielberg Theatre at the Egyptian\, 6712 Hollywood Blvd.\, Los Angeles CA 90028

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James Benni ng in person!

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West Coast premiere!

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In 1998-99\, Filmforum h osted a retrospective of works by James Benning. \; Since then he has c ompleted at least another 20 films\, and since migrating from film to digit al media\, he&rsquo\;s been  \;playing with the space-time continuum in new ways and completing work at a remarkable pace. \; We&rsquo\;re del ighted to host Benning again for the premiere here of one of his latest wor ks\, an exploration of the Vienna Museum of Natural History in 54 shots ove r 77 minutes\, mostly of behind-the-scenes spaces.

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James Be nning has been making work since 1970. He has had recent museum sh ows in Hamburg\, Germany and Graz\, Austria.

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For more event informa tion: www.lafilmforum.o rg\, or 323-377-7238 \; \; \; \; \; \; \;&n bsp\; \; \; \;

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Tickets: $10 general\, $6 students/senio rs\; free for Filmforum members. \; Available by credit card in advance from Brown Paper Tickets at http://bpt.me/1470522 or at the door.

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Screening:

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natural history (2014\, HD digital\, 77 min.)

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&ldquo\;natural history began about five years ago when the director of the Museum of Natural History Vienna\, Christian Koeberl\, invited me to lunch. He wa nted to talk about his second passion film. Myself not liking film that muc h immediately changed the subject to meteorites\, his first passion. Over a schnitzel and the better part of a rather good bottle of red wine I receiv ed about two years of university credit on the subject. Then with a boyhood grin\, Christian asked if I&rsquo\;d like to see the storage rooms. (...) We spent another few hours looking at the stuff stored and at the undergrou nd architecture itself. I told Christian I think I&rsquo\;d like to make a film there\, a landscape film\, and without hesitation he said yes.&rdquo\; (James Benning) http://www.viennale.at/en/films/natural-history

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&ldquo\;I had complete access to the building for 13 straight days\,&rdquo\ ; Benning says. &ldquo\;The editing is based on the first 27 digits of pi: 3.14159265358979323846264338.&rdquo\; &ndash\; James Benning

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A chro nology of related events by James Benning:

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http://heyevent.com/event/705345356245095/natural-history-by-james-benning

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On natural history and FAROCKI\, by Michael Pattison:

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http:// www.bfi.org.uk/news-opinion/sight-sound-magazine/comment/festivals/trails-l ife-james-benning-s-natural-history

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Hollywood Reporter review b y Clarence Tsui:

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http://www.hollywoodrep orter.com/review/natural-history-vienna-review-749830

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This program is supported by the Los Angeles County Board of S upervisors through the Los Angeles County Arts Commission\; the Department of Cultural Affairs\, City of Los Angeles\; and the Mike Kelley Foundation for the Arts. Additional support generously provided by American Cinematheq ue. We also depend on our members\, ticket buyers\, and individual donors.< /p>\n

Los Angeles Filmforum is the city's longest-running organization sc reening experimental and avant-garde film and video art\, documentaries\, a nd experimental animation. \; 2015 is our 40th year.

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Memberships available\, $70 single\, $115 dual\, or $50 single student

\n

Contact us at lafilmforum@yahoo.com.

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Find us online at http:// lafilmforum.org.

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Become a fan on Facebook and follow us on Twitter @Lo

DTEND:20150531T214500 DTSTAMP:20150418T091000 DTSTART:20150531T193000 GEO:34.101418;-118.336595 LOCATION:Spielberg Theatre at the Egyptian\,6712 Hollywood Blvd. \nLos Ange les\, CA 90028 SEQUENCE:0 SUMMARY:James Benning: natural history\, James Benning UID:380562 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Grear Patterson first solo sho w in LA\, in collaboration with the \;American Academy in Rome\, curated by Peter Benson Mille r. Los Angeles &ndash\; Depart Foundation announced that it will collaborat e with the American Academy in Rome to present Grear Patterson: Seek and De stroy\, the artist&rsquo\;s first Los Angeles solo exhibition and the Los A ngeles sequel to Patterson&rsquo\;s exhibition Forest Theater presented at the American Academy in Rome in 2014.A precocious former member of The Stil l House Group\, New York-based American artist and photographer Grear Patte rson\, working in a variety of media\, creates expressive works suffused wi th nostalgia for lost innocence and childhood rituals. Summoning many of hi s most significant formative experiences\, he plumbs the pleasures and trau mas of adolescence\, evoking both personal and collective rites of passage. His work\, alternating \;between disclosure and reticence\, explores n ot only the immediacy of reckless experience\, violent impulses and erotic yearning\, but also the halting emotional and \;linguistic shorthand us ed to express those furtive memories and desires.

Drawing upon a collection of random snapshots\, collected images and personal effects\, Seek and Destroy\, summons in various\, often indirect ways\, formative mom ents in the artist&rsquo\;s life. Embodied by\, among other things\, treeho uses\, baseball cards\, summer camp\, cult movies seen over and over\, and fireworks on the Fourth of July\, these moments might be construed as typic al of an American childhood and the turbulent passages of adolescence &ndas h\; Sturm und Drang leavened by the cool sensibility of Ed Ruscha\, with a nod to the dark undercurrent in William Eggleston&rsquo\;s photographs of b ack yards and suburban clutter. Part Hardy Boy and part Holden Caulfield\, Patterson presents his recollections in the form of photographs\, interacti ve installations and private relics\, tapping into a broader consciousness. His works are remarkably mature ruminations upon memory\, nostalgia and th e hormone-fueled transition from childhood to adulthood. Like Harold with h is purple crayon\, Patterson creates a rich personal world \;that melds the real and the imaginary.

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P atterson&rsquo\;s exhibition Forest Theater\, which this exhibition follows \, was presented at \;the American Academy in Rome from October 9&ndas h\;December 5\, 2014.

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A catalog with a text by exhibition curator Peter Benson Miller and published by NERO&nbs p\;accompanies the exhibition.

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Grea r Patterson: Seek and Destroy is organized by the American Academy in Rome in \;collaboration with DEPART Foundation.

DTEND:20150615 DTSTAMP:20150418T091000 DTSTART:20150421 GEO:34.0906123;-118.3900411 LOCATION:Depart Foundation\,9105 W.Sunset Boulevard \nWest Hollywood\, CA 9 0069 SEQUENCE:0 SUMMARY:SEEK AND DESTROY\, Grear Patterson UID:380558 END:VEVENT BEGIN:VEVENT DTEND:20150421T210000 DTSTAMP:20150418T091000 DTSTART:20150421T180000 GEO:34.0906123;-118.3900411 LOCATION:Depart Foundation\,9105 W.Sunset Boulevard \nWest Hollywood\, CA 9 0069 SEQUENCE:0 SUMMARY:SEEK AND DESTROY\, Grear Patterson UID:380559 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sunday April 26\, 2015\, 7:30 pm

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< strong>Los Angeles Filmforum presents

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The Art of Reperformance: ownerBuilt and The Reveal

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At the Spielberg Theatre at the Egyptian\, 6712 Hollywood Blvd.\, Los Angeles CA 90028

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Lawrence Andrews in person!

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An exciting set of explorations wher e the verisimilitude of image and audio is questioned and documentary and a rtistic practice converge. Lawrence Andrews&rsquo\;s ownerBuilt\, making its Los Angeles premiere\, is a remarkable work of animation and als o apparently an animated documentary\, but where the most common arbiter of &ldquo\;truth&rdquo\; in animated documentary\, the recorded testimony\, h as been reperformed. \; Adie Russell&rsquo\;s The Reveal\, also in its LA premiere\, sees Russell visually performing Marlon Brando and Dick Cavet t in Brando&rsquo\;s appearance on Cavett&rsquo\;s show\, with the audio st aying true to its source. \; Zora Neale Hurston&rsquo\;s recordings ups et the normal conventions of ethnographic recording\, where she plays the s ongs that she has learned from the local musicians. \; A set of works t hat may lead you to question your expectations of the picture-sound relatio nship\, and\, by extension\, the presuppositions of power and authority.&nb sp\; Artist Lawrence Andrews will be in town from the Bay Area to discuss.< /p>\n

&ldquo\;ownerBuilt firmly occupies and is concerned with the space around the margins of society. This work therefore imagines the various way s anonymity can function in that space\, especially as it relates to the pr oblems of visibility and the attainment of political power. Ultimately\, as an aural performance reconfigured in cinematic space\, ownerBuilt is envis ioned as a Radical Sound Project\, where the sound of the dog wags the tail of the picture\, positioning sound as the privileged track and effectually dethroning image.&rdquo\; (Lawrence Andrews)

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For more event inform ation: www.lafilmforum. org\, or 323-377-7238 \; \; \; \; \; \; \;& nbsp\; \; \; \;

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Tickets: $10 general\, $6 students/seni ors\; free for Filmforum members. \; Available by credit card in advanc e from Brown Paper Tickets at http://bpt.me/1433723 or at the door.

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Screening:

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ownerBuilt\, by Lawrence Andrews (2013\, digital\, color\, sound\, 49 min.)

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Los Angeles premiere!

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ownerBuilt exists as an aural performance reconfigured into animated cinematic space.

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Hurricane K atrina and the ensuing aftermath destroyed Noel&rsquo\;s community\, neighb orhood and home. But he is rebuilding\, and as he rebuilds\, he tries to ev oke the memories of what was\, through the enlistment of his personal archi ves. His memories are complicated by the tragic events that occurred on the Danziger Bridge on September 4th 2005. As Noel reflects back on what has b een lost\, the story that he tells about his neighborhood is affected by th e story of innocent people attempting to cross a bridge in search of safe h aven\, and for Noel their plight clarifies the questions that arose in the aftermath of Katrina.

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Noel's questions give rise to other questions \, especially about the status of truth in what might seem to be a post-doc umentary age. Noel performs his story motivated by a collection of photogra phs that prompt him to recount events from his past and present. An implied author\, in turn\, performs Noel who performs others\, who themselves are performing with varying degrees of self-consciousness. And in this manner a performative documentary comes into being. This concept of people filtered through and performed by an author are extensions into pre-existing forms like theatrical monologues and stand-up comedy\, but these forms are usuall y not situated within a documentary tradition\, or\, when they are\, the fo rmal aspects of the medium are usually reduced to documenting a performance . Do degrees of theatricality dictate which boxes various texts are slated into and deemed authentic representations of the truth? Such questions are further complicated by an anti-theatrical prejudice. What is the source of this prejudice? What usefulness does it pose for us? And in what ways is it s application problematic in a documentary context? Presenting the work in what may be deemed a theatrical form has the potential to de-legitimize and thwart its claims for documentary status\, but this is a tension I hope th e project explores.

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OwnerBuilt is also constructed to compare archi val approaches to presenting information against more structured narrative flows\, so early parts of the performance present samples from Noel's archi ves with no attempt made to structure sequential meaning. This approach\, w hile disorienting\, creates a tension that can be explored experientially. By thwarting the desire to construct meaning out of implied causal connecti ons\, and then gradually facilitating this activity as the work progresses\ , I hope to provoke further questions: Is there more truth in an archival s tructure that doesn&rsquo\;t attempt to do this work for you? As listeners\ , do we want to do this work for ourselves\, or do we prefer to delegate it to the author?

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The Reveal\, by Adie Russ ell (2012\, HD\, color\, sound\, 20 min.)

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Los Angeles premiere!

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In a 1973 televised interview with Marlon Brando\, talk show host Dick Cavett asks &ldquo\;Why do you downgrade acting?&rdquo\; A charged interpl ay unfolds in which Brando\, arguably America&rsquo\;s greatest actor\, mak es a case for acting as a survival mechanism\, indicating the impossibility of honest human interaction in the entertainment arena and beyond. By reve aling the artificiality of both the dialogue in which he&rsquo\;s engaged a nd the contrivance of social relations at large\, he insists on a kind of a uthentic interchange\, exposing the gulf between the role Cavett is playing and the private self behind that role.

In her video\, The Reveal\, Adie Russell recontextualizes this recording\, replacing the original visual cues with an altered context\, and replacing the protagoni sts&rsquo\; acting with her own. She brings together temporal spaces: the h istorical moment of the audio recording and the moment inhabited by herself and the viewer in the present. The exchange between these moments exists a s a composite of past and present\, a kind of third space where meanings sh ift\, judgments waver\, visual cues are displaced\, and the language hovers \, unattached to the identity of the original speaker\, and yet not quite a ttached to the identity of the performer. \;

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&ldquo\;Let&rsquo\ ;s Shake It&rdquo\;\, performed by Zora Neale Hurston (1939\, audio only\, 2:53)

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A Negro track-lining chant\, learned at a railroad camp in [C allahan?] (North Florida) in 1935.

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&ldquo\;Shove It Over&rdquo\;\, performed by Zora Neale Hurston (1939\, audio only\, 2:47)

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A lining rhythm generally distributed throughout Florida\, learned from Charlie Jon es on a railroad construction camp near Lakeland\, Florida\, in 1933.

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&ldquo\;Uncle Bud&rdquo\;\, performed by Zora Neale Hurston (1939\, audi o only\, 3:19)

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A social song\, for amusement\, sung by men all over the South\; a "jook song\," it is not sung in front of respectable ladies.

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&ldquo\;Mama Don't Want No Peas\, No Rice&rdquo\;\, performed by Z ora Neale Hurston (1939\, audio only\, 3:15)

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A song from Nassau\, t he Bahama Islands\, sung at jumping dances and fire dances. According to Zo ra Neale Hurston\, "They're great songmakers\, and their tunes are decidedl y more African than the ones made by the Negroes in America. They make song s so rapidly\, they say\, 'Anything you do\, we put you in sing\,' and in a few hours they have a song about it. 'Mama Don't Want No Peas\, No Rice' i s about a woman that wanted to stay drunk all the time\, and her husband is really complaining about it. He's explaining to the neighbors what's the m atter with his wife and why they don't get along better."

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L awrence Andrews is an Artist and is currently an Associate Profess or of Film and Digital Media Arts University of California\, Santa Cruz\, C A. \; His work has shown extensively throughout the U.S. and internatio nally on cable television\, in museums and galleries and major festivals in cluding the Whitney Biennial\, The New York Museum of Modern Art\, The San Francisco Museum of Modern Art\, Pacific Film Archive\, and The American Fi lm Institute. He has received various grants awards and fellowships in supp ort of his work including a Rockefeller Inter cultural Documentary Fellowsh ip\, two National Endowment for the Arts Artist Fellowship. More at http://film .ucsc.edu/faculty/lawrence_andrews

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Adie Russell is a multi-media artist working in photography\, video\, performance\, dr awing\, and painting. She was raised in Europe and the United States and cu rrently lives in Kingston\, NY. She holds a BA/BFA from the Eugene Lang Col lege/Parsons School of Art &\; Design both at The New School for Social Research. Russell has exhibited in the United States and Europe\, most rece ntly in an exhibition entitled &ldquo\;The Subterraneans&rdquo\; at the Lee ds College of Arts in Leeds\, UK in fall 2014. \; She has had solo show s at Leeds College of Art\, where she first exhibited The Reveal\, The Center for Photography at Woodstock\, NY\, Roos Arts\, Rosendale NY an d Melle Finelle\, Boston\, MA. She has participated in Artist Residencies a t the University of Cape Town in South Africa\, La Cipresssaia in Montagnan a in Italy\, at the Contemporary Artists Center in North Adams\, MA\, and S alem Art Works in Salem NY. \;More at http://www.adierussell.com/

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Zora Ne ale Hurston\, originally of Eatonville\, Florida\, was already a p ublished novelist and folklorist when she took a job with the Federal Write rs' Project in Florida.

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Songs downloaded from the Library of Congre ss\, http://www.loc.gov/folklife/guides/Hurston.html

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This program is supported by the Los Angeles County Board of Superv isors through the Los Angeles County Arts Commission\; the Department of Cu ltural Affairs\, City of Los Angeles\; and the Mike Kelley Foundation for t he Arts. Additional support generously provided by American Cinematheque. W e also depend on our members\, ticket buyers\, and individual donors.

\n

 \;

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Los Angeles Filmforum is the city's longest-running orga nization screening experimental and avant-garde film and video art\, docume ntaries\, and experimental animation. \; 2015 is our 40th ye ar.

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 \;

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Coming Soon to Los Angeles Filmforum:

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M ay 17 &ndash\; To be announced

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May 30 &ndash\; Marnie Weber\, at th e Velaslavasay Panorama

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May 31 &ndash\; James Benning with natu ral history

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Memberships available\, $70 single\, $115 dual\, o r $50 single student

\n

Contact us at lafilmforum@yahoo.com.

\n

F ind us online at http://lafilmforum.org.

\n

Become a fan on Facebook a nd follow us on Twitter @LosAngFilmforum!

DTEND:20150426T214500 DTSTAMP:20150418T091000 DTSTART:20150426T193000 GEO:34.101418;-118.336595 LOCATION:Spielberg Theatre at the Egyptian\,6712 Hollywood Blvd. \nLos Ange les\, CA 90028 SEQUENCE:0 SUMMARY:The Art of Reperformance: ownerBuilt and The Reveal\, Lawrence Andr ews\, Adie Russell\, Zora Neal Hurston UID:380557 END:VEVENT END:VCALENDAR