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Beasts and Trees\, Cities and Seas

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Bodies of work by Suzanne Unrein and Gay Summer Rick

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Opening Reception: Saturday\, October 4th\, 6-10pm

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Show Duration: September 28th through October 21st

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Second Event: Saturday October 18\, 5-7pm  \;

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Loca tion: bG Gallery (Bleicher/Gorman)\, 2525 Michigan Ave #G8A\, Santa Monica Ca 90404

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T+1 310 906 4211

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Hours: Tuesda y-Saturday 11:30-6pm

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bgartdealings.com

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Press Contact: Shaye Nelson shaye@bgartdealings.com\, 323 7881339

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bG Gallery Ber gamot Station presents Beasts and Trees\, Cities and Seas\, a two person ex hibition featuring bodies of work from artists Suzanne Unrein and Gay Summe r Rick. Both artists juxtapose the natural world against human existence\, reminding the viewer that they\, too\, are a volatile organic entity.

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Gay Summer Rick&rsquo\;s new series City and Coast\, depicts u rban habitats vibrating alongside Southern California&rsquo\;s ephemeral co astline. The dynamic relationship between the two environments is heightene d by the artist&rsquo\;s choice of palette knife instead of brush. Her dist inctive painting style creates an arresting color field in which the city&r squo\;s sharp edges dissolve into the impressionistic embrace of sand\, sea and sky. Rick&rsquo\;s ultimate intention: to transcend the visual by evok ing the emotional experience of a place.

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Suzanne Unrein s tages glorious confrontations: man and beast\, beast and beast\, the dual n ature of man and the beast within - even the artist&rsquo\;s floral still-l ife paintings hint at the battle between life and decay. Confident\, expres sive brushstrokes and a rich color palette follow line and composition in a loose interplay of the abstract and the representational. Underlying the t ense beauty of Unrein&rsquo\;s work is a common theme:  \;creation and destruction are the consequence of being alive.

DTEND:20141021 DTSTAMP:20140916T023205 DTSTART:20140928 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Beasts and Trees\, Cites and Seas\, Gay Summer Rick\, Suzanne Unrei n UID:356643 END:VEVENT BEGIN:VEVENT DTEND:20141004T220000 DTSTAMP:20140916T023205 DTSTART:20141004T180000 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Beasts and Trees\, Cites and Seas\, Gay Summer Rick\, Suzanne Unrei n UID:356644 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the second installment of her Response series\, Laura Pla geman shifts her gaze from land to sea. With continued focus on the materia lity of the photographic print\, her new works oscillate between image and object\, photography and sculpture\, landscape and still life. Each piece i s a &ldquo\;response&rdquo\; to an original image that is sculpted and coll aged into a tabletop assemblage and then re-photographed. The final prints hover between being illusory and tangible\, seemingly impossible but showin g evidence of their actual construction.

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To create the first genera tion images\, Plageman visited popular stops along the California coast\, s cenic destinations that draw countless visitors all with camera in hand. Sh e regards these places as almost object-like themselves in how they are exp erienced and collected. Plageman reflects on how the landscape can be mutab le psychically and physically\, less real through aesthetic distance and li terally changing shape through forces of nature and human impact. With ever y new rendition\, the land acquires layers of meaning and opens up an array of interpretations and possibilities.

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In the end\, Plageman&rsquo\ ;s works are a cumulative record of her observations and experimentation ov er time and space. Each account has a bit of truth and fiction. Heeding Sus an Sontag who said\, &ldquo\;all photographs are momento mori\,&rdquo\; Pla geman reminds us that things change and boundaries shift\, encapsulating th e transience and dynamism of our world. \;

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Laura Plagem an (b. 1976\, Berkeley\, CA) received her BA from Wesleyan Univers ity and MFA from California College of the Arts where she has held various academic appointments. Her work has been in exhibited in galleries and inst itutions across the US\, including recent exhibitions at Photo Center North west in Seattle and Catherine Edelman Gallery in Chicago. She lives and wor ks in Oakland\, California.

DTEND:20141109 DTSTAMP:20140916T023205 DTSTART:20140920 GEO:33.9905078;-118.4663454 LOCATION:De Soto Gallery\,1350 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Response\, Laura Plageman UID:356615 END:VEVENT BEGIN:VEVENT DTEND:20140920T200000 DTSTAMP:20140916T023205 DTSTART:20140920T180000 GEO:33.9905078;-118.4663454 LOCATION:De Soto Gallery\,1350 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Response\, Laura Plageman UID:356616 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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L.A. ARTCORE PRESENTS

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A GALLERY RETROSPECTIVE BY STEPHEN ROBERT JOHNS

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OCT. 1- 30TH\, 2014

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Reception &ndash\; Sunday Oct 5th

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1 p.m. &ndash\; 3 p.m. &ndash\; Artcore Brewery Annex

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Conversation With The Artist Series: 2 p.m.

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L.A. Artcore Brewery Annex

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LOS ANGELES\, CA (Sept .\, 2014) L.A. Artcore has the privilege of presenting a solo exhibit reviewing the career of artist Stephen Robert Johns. Retrospective &ndash\; A Painting Survey 1972-201 4\, contains the evolution of an artist dedicated to the realms of sha pe and silhouette\, edge and pattern. \;

His career opens with completing his degree during the changeover between Chouinard and Cal Arts\, where the influence of Watson Cross\, Hal Jepsen and Matsumi Kanemi tsu influenced his trajectory. \; The young artist found himself fillin g large orders for his minimalist geometric paintings to satisfy a number o f architects\, which led to a period of being burned out on artmaking\, and a new passion for serious\, artistic landscape architecture. \; The fl uidity and negotiable nature of working the land with living materials prov ided him with a creative outlet where he could avoid thinking of styles and what sells. \;

It was not long before the artist found h imself refreshed by a new view of art. \; After learning David Hockney and Frank Gehry were teaching classes to youth at Barnsdall Park\, he obtai ned a position teaching disabled youth. \; Together with experiences tr aveling across the states\, to Japan and Costa Rica\, provided the artist w ith a way to work in terms of what interests him in the now. \; Once he felt he had more to offer\, his work moved into a range of paintings that deal both with stark contrasts and edges\, fields of abstract pattern inspi red by Bauhaus or 20th century modernists\, and a range drawn di rectly from observation\, many of them looking down from a great height. Th ese merged with his work with plants and a love for Zen gardens to produce interlocked

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(Johns\, Pg. 2)

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landscapes a nd river tributaries as abstract plays of sedate colors\, like the verdant heat of yellow against green. \; Hundreds of preliminary sketches from airplane window seats\, using the airsick bags in front of him\, formed the underlayer of this approach to merging geometry\, color and nature.

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Artist Reception:

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Sunday Oct. 5th\, 2014\, 1 p. m. &ndash\; 3 p.m.

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Conversation With the Artist Series at 2 p.m.

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L.A. Artcore Brewery Annex< /p>\n

650A S. Ave. 21.\, Los Angeles\, CA 90031

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Gallery hours: 12 -5 p.m.\, Thu-Sun.

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ABOUT L.A. ARTCORE

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L.A. Artcore helps develop the careers of visual artists of di verse cultural backgrounds\, bringing innovative contemporary art to the pu blic\, and provides educational programs by professional artists for people of all ages. For more information visit www.laartcore.org

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DTEND:20141030 DTSTAMP:20140916T023205 DTSTART:20141001 GEO:34.064801;-118.2168067 LOCATION:LA Artcore Brewery Annex\,650 A South Avenue 21 \nLos Angeles\, CA 90031 SEQUENCE:0 SUMMARY:Stephen Robert Johns Retrospective - A Painting Survey 1972-2014\, Stephen Robert Johns UID:356605 END:VEVENT BEGIN:VEVENT DTEND:20141005T150000 DTSTAMP:20140916T023205 DTSTART:20141005T130000 GEO:34.064801;-118.2168067 LOCATION:LA Artcore Brewery Annex\,650 A South Avenue 21 \nLos Angeles\, CA 90031 SEQUENCE:0 SUMMARY:Stephen Robert Johns Retrospective - A Painting Survey 1972-2014\, Stephen Robert Johns UID:356606 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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L.A. ARTCORE PRESENT S

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A SOLO-EXHIBIT WITH EDEM ELESH

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OCTOBER 1-30TH\, 2014

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Reception &ndash\; Sunday Oct. 5TH

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3 p.m. &ndash\; 5 p.m. &ndash\; Union Center

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Conversation With The Artist Series: 4 p.m.

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L.A. Artcore at Union Center for the Arts

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LOS ANGELES\, CA (Sept.\, 2014) L.A. Art core is pleased to presenta solo exhibit comprised of paintings\, sculptura l installation and performance by Los Angeles artist Edem Elesh.

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El esh's paintings move quickly between color and form\, memory and sensation\ , using his physical experiences to create snapshots of his state of being. \;lThey are like exhalations after taking in the air of an experience.&nbs p\; The mystery of the breath is easily as old as art &ndash\; the words sp irit\, inspiration\, aspire and expire all relate to the Latin word for bre ath. \; His work dwells on the various aspects of the breath\, in the s ense of a boundary where the person living within their subjective reality sends their wind and moisture to greet the outer physical reality with ever y movement.

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In this solo show\, the artist moves on from geometric structures and shapes resembling mystical diagrams in illuminated manuscrip ts\, chthonic images of structure seeking to illustrate a fundamental reali ty\, and now digs into the earth of his experiences traveling\, following h is passions\, celebrating sexuality\, and preserving a sense of luck in lif e. \; One can see glimpses of Wayne Thiebaud&rsquo\;s color and Francis Bacon&rsquo\;s riding the waves of accidents. \; There is also a vanit as sentiment behind all his work\, memories of joy presented together with reminders of the fleeting moments of life. \; The artist is interested in getting a reaction from the viewer\, seeking a moment of discovery\, whe re all the riches of his life can appear together with a shifting sense tim e\, passion\, and an encouraging indication of mortality.

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This exhibit will be an opportunity to see several sides of an actively creative life\, ranging from sharp drawings executed with speed and a photographic eye\, to sparse\, allegorical landscapes\, pa intings on framed aluminum\, sculptural pieces and a performance on guitar.  \;

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Artist Reception:

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Sunday Oct . 5th\, 2014\, 3 p.m. &ndash\; 5 p.m.

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Conversation W ith the Artist Series at 4 p.m.

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L.A. Artcore at Union Center for the Arts

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120 J udge John Aiso St.\, Los Angeles\, CA 90012

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Gallery hours: 12-5 p.m .\, Wed-Sun.

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ABOUT L.A. ARTCORE \n

L.A. Artcore helps develop the careers of visual artists of diverse cultural backgrounds\, bringing innovative contemporary art to the public\, and provides educational programs by professional artists for people of al l ages. For more information visit www.laartcore.org

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DTEND:20141030 DTSTAMP:20140916T023205 DTSTART:20141001 GEO:34.050988;-118.239927 LOCATION:LA Artcore Union Center for the Arts\,120 Judge John Aiso St. \nLo s Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Edem Elesh Solo Exhibition\, Edem Elesh UID:356603 END:VEVENT BEGIN:VEVENT DTEND:20141005T170000 DTSTAMP:20140916T023205 DTSTART:20141005T150000 GEO:34.050988;-118.239927 LOCATION:LA Artcore Union Center for the Arts\,120 Judge John Aiso St. \nLo s Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Edem Elesh Solo Exhibition\, Edem Elesh UID:356604 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bryan Cantley and Form:uLA&rsquo\;s exhibition is an opus in three disti nct parts&mdash\;the articulation of fallacy and artificial chronology of t he architectural drawing\; the suggested operational misalignments of his v isionary projects\; and the symbolic deconstruction of the gallery.< /p>\n

Form :uLA has always defied established contexts and criteria. The SCI-Arc insta llation is no exception. Challenging the normative &lsquo\;current building practices&rsquo\; that substantiates the gallery&rsquo\;s lexicon\, Cantle y displays a more &lsquo\;conventional&rsquo\; oeuvre of drawings\, models\ , and images. Not a singular materialization\, he presents a body of [predo minantly] new work that suggests alternative spatial discourse. The space i tself is conceptually dissected into a series of graphical surfaces\, with the manifestation of the &lsquo\;antiobject&rsquo\; serving as both display [backdrop\, organizational maneuver] and spatial delineator [object\, anch or].

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Cantley&rsquo\;s work is regularly divided into two distinct\, yet transecting conditions&mdash\;the experimental architectural drawing [< strong>image]\, and the &lsquo\;mechanical architecture&r squo\; paradigm [building-object]. The exhibition pre sents both of these archetypes as conjunctive informants. His drawings chal lenge the architectural descriptive posture of singularity\, while his buil ding indicators suggest a world of implied functionality and machinic soul. And while the drawings and projects somewhat overlap\, each artifact is it s own threshold to a vision of architectural potential. The gallery is conc eptually divided to document two radically different\, yet unmistakably con nected tissues of a conceptual chirality.

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The Dirty Geometries portion houses a series of over 30 hand and hybrid drawings that attempt to enhance the audience as both voyeur and inhabitant\, while simultaneously removing the framework of &lsquo\;the recognizable&rsquo\; as a tool of nav igation. The dirtiness of the geometries refer both to the unresolved natur e of the content\, as well as a condition of physical residue left over fro m an imperfect and [sometimes] organic digitally-infused process of drawing . These graphic experimentations serve as a proactive mode of research\, be coming not so much drawings of objects\, as much as they predict drawings o f drawings.

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The Mechanical Imperfections section presents 10 co nceptual projects that engage a dialogue of imperfect machines struggling t o construct perfect moments of architecture. These visionary projects aband on perceived mechanical precision in lieu of spatial poetics\, political ov erlay and architectural inquiry.

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Both of these categories of work speak of the degree of flaw that is derived from the human condition of the analo g\, though they do so under a disguised veil of ostensible accuracy. The ex hibition is not as much about the strictness of the execution\, as it sugge sts the fallibility of [all] technology. Wabi-sabi insinuates the condition of transience of not only an architectural solution\, but of the vehicles through which such undertakings are discussed. These visionary pro jects attempt to establish a dialogue that broadens the interpretation of t he underbelly of architecture as an explorative discipline. Cantley&rsquo\; s work is that of questions\, not answers. This exhibition questions the ro le of representation in architecture\, the potential of the non-building as critical dialogue\, and the vehicles through which architectural discourse are delivered. It also questions the nature of the imperfect analog within this digital guild.

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About Bryan Cantley / [Form:uLA Dimension L aboratory]
&l dquo\;Racing toward the future implied by the post-urban concatenation of h uman dwellings that is Southern California\, Form:uLA envisions a world whe re the mechanical certainty with which we have shaped our physical environm ent dissolves into the endlessly hovering limbo of the freeway\, the collag e of the televised world view\, and the directional certainty of diagrams t hat tell us where we are in nowhere. Bryan Cantley\, the brain behind the p ost-architecture firm Form:uLA\, gives us a chart to what he sees as our wo rld. He thus is one of the last (though one hopes not the last) architectur e visionaries looking beyond the needs of form and function to formulas for future orders&hellip\;&rdquo\; &mdash\; Aaron Betsky\, In a Ga laxy Closer Than We Think (2006)

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In 1992\, Bryan C antley established Form:uLA\, a practice that explores the boundaries of ar chitecture\, representation and the role of drawing\, within the discourse of visionary space. He filters this research through his conceptual framewo rk of &lsquo\;Mechudzu\,&rsquo\; a system that incorporates biomorphic beha vior of mechanistic entities. Drawing from architecture\, graphic and indus trial design\, music theory/notation and applications of kinesiology\, Cant ley merges these into a voice of undefined chronologies and place\, asking the viewer + occupant to question not only where they are\, but when&hellip \;

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Form:uLA&rsquo\;s work is in the permanent collection of the San Fran cisco Museum of Modern Art\, and has been exhibited internationally\, inclu ding a solo exhibition at The Bartlett in 2008. Cantley has lectured intern ationally\, and is the recipient of a prestigious Graham Foundation grant.< /span>

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A more intimate selection of Canley&rsquo\;s work will be exhibited in N ovember 2014 at the Christopher Mount Gallery in Los Angeles\, and his work will be the subject of a solo retrospective exhibition at the University o f North Carolina Charlotte&rsquo\;s College of Architecture in 2015. Cantle y holds a Master of Architecture from UCLA\, and a Bachelor of Arts in Arch itecture from UNCC.

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Exhibition Discussion &\; Opening Reception: Friday\, October 10\, 7pm
Bryan Cantley and SCI-Arc Director Eric Owen Moss discuss the exhibition

DTEND:20141130 DTSTAMP:20140916T023205 DTSTART:20141010 GEO:34.0432978;-118.2331044 LOCATION:SCI-Arc Exhibitions\,Southern California Institute of Architecture 960 E. Third St.\nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Dirty Geometries + Mechanical Imperfections\, Bryan Cantley UID:356539 END:VEVENT BEGIN:VEVENT DTEND:20141010T210000 DTSTAMP:20140916T023205 DTSTART:20141010T190000 GEO:34.0432978;-118.2331044 LOCATION:SCI-Arc Exhibitions\,Southern California Institute of Architecture 960 E. Third St.\nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Dirty Geometries + Mechanical Imperfections\, Bryan Cantley UID:356540 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Co-curated by Ranger Rick photo editor Susan McElhi nney and G2 Director and Curator Jolene Hanson\, Ricked From the Headli nes will feature photo stories from several of the magazine&rsquo\;s m ost recent issues. Stories about mountain lions\, alien-esque insects and b irds of paradise from the pages of the 47-year old\, kid-friendly publicati on will accompany the images.

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McElhinney has been Ranger Rick&r squo\;s photo editor for 20 years\, and her eye for choosing the right images for the right stories has led to award-winning photographs gracing the magazine&rsquo\;s pages. She and Hanson curated the most compelling vis ual stories from Ranger Rick&rsquo\;s past issues\, working with m ore than a dozen world-renowned photographers\, including Pete Oxford\, Igo r Siwanowicz\, Jeff Yonover and many more.

DTEND:20141102 DTSTAMP:20140916T023205 DTSTART:20140916 GEO:33.990525;-118.46464 LOCATION:The G2 Gallery\,1503 Abbot Kinney Blvd \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Ricked From the Headlines: A Ranger Rick Photo Expedition\, Patrick Landmann\, Brandon Cole\, Suzi Eszterhas\, Christian Ziegler\, Yva Momatiu k\, John Eastcott\, Igor Shpilenok\, Jeff Yonover\, Neil Lucas\, Norbert Wu \, Patrick Kientz UID:356468 END:VEVENT BEGIN:VEVENT DTEND:20140920T210000 DTSTAMP:20140916T023205 DTSTART:20140920T183000 GEO:33.990525;-118.46464 LOCATION:The G2 Gallery\,1503 Abbot Kinney Blvd \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Ricked From the Headlines: A Ranger Rick Photo Expedition\, Brandon Cole\, John Eastcott\, Suzi Eszterhas\, Patrick Kientz\, Patrick Landmann\ , Neil Lucas\, Yva Momatiuk\, Igor Shpilenok\, Norbert Wu\, Jeff Yonover\, Christian Ziegler UID:356469 END:VEVENT BEGIN:VEVENT DESCRIPTION:

LMU sound artist David Karagia nis\, and LMU faculty choreographers Rosalynde Loo and Damon Rago\, along w ith LMU students\, will lead us in unique journeys through the exhibition a nd beyond. Each performance will be a new experience.

DTEND:20141023T200000 DTSTAMP:20140916T023205 DTSTART:20141023T190000 GEO:33.9704172;-118.4174046 LOCATION:Laband Art Gallery\,Loyola Marymount University 1 LMU Drive\nLos A ngeles\, CA 90045 SEQUENCE:0 SUMMARY:Journeys in Sound and Dance (October 23)\, David Karagianis UID:356393 END:VEVENT BEGIN:VEVENT DESCRIPTION:

LMU sound artist David Karagia nis\, and LMU faculty choreographers Rosalynde Loo and Damon Rago\, along w ith LMU students\, will lead us in unique journeys through the exhibition a nd beyond. Each performance will be a new experience.

DTEND:20141007T130000 DTSTAMP:20140916T023205 DTSTART:20141007T121500 GEO:33.9704172;-118.4174046 LOCATION:Laband Art Gallery\,Loyola Marymount University 1 LMU Drive\nLos A ngeles\, CA 90045 SEQUENCE:0 SUMMARY:Journeys in Sound and Dance (October 7)\, David Karagianis UID:356392 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist Mark Ruwedel and urban hiker (and LMU associate professor of history) Nigel Raab will tell stories about the seventy-two-and a half mile adventures they took across Los Ange les and discuss their parallel\, but unique\, projects about the megalopoli s.

DTEND:20141005T150000 DTSTAMP:20140916T023205 DTSTART:20141005T140000 GEO:33.9704172;-118.4174046 LOCATION:Laband Art Gallery\,Loyola Marymount University 1 LMU Drive\nLos A ngeles\, CA 90045 SEQUENCE:0 SUMMARY:72 Miles Across LA\, Mark Ruwedel and Nigel Raab in Conversation wi th Carolyn Peter\, Mark Ruwedel UID:356389 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join us for a conversation wit h artists Kim Abeles\, Gabrielle Ferrer\, Erin Mallea\, and Diane Meyer at 2:30pm and then come celebrate with the artists at an opening reception fro m 4&ndash\;6pm.

DTEND:20140913T160000 DTSTAMP:20140916T023205 DTSTART:20140913T143000 GEO:33.9704172;-118.4174046 LOCATION:Laband Art Gallery\,Loyola Marymount University 1 LMU Drive\nLos A ngeles\, CA 90045 SEQUENCE:0 SUMMARY:Following the Prescribed Path: Artist Talk\, Kim Abeles\, Gabrielle Ferrer\, Erin Mallea\, Diane Meyer UID:356388 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The seven artists in \;Following the Prescribed Path \;took diverse journeys into both u rban and natural landscapes over the course of six decades\, and ultimately transformed their experiences into a range of media. The artists&rsquo\; p rojects suggest diverse reasons for stepping out our doors&mdash\;to follow in someone else&rsquo\;s footsteps (whether they are just in front of you or whether they have long since passed)\, to trace historical wounds\, to m ake a pilgrimage\, or to pursue a hero&rsquo\;s journey in search of a tran scendent experience. While it might be counterintuitive to think that follo wing a predetermined route is creatively stimulating\, the artists in this exhibition suggest otherwise.

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The art ists in \;Following the Prescribed Path \;took diverse jou rneys into both urban and natural landscapes over the course of six decades \, and ultimately transformed their experiences into a range of media. Whil e it might be counterintuitive to think that following a predetermined rout e is creatively stimulating\, the artists in this exhibition suggest otherw ise.

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Standing upright and walking on two legs distinguishes humans from most other animals. As long as we have b een ambulatory\, the urge to walk out the front door and just explore one&r squo\;s environment has been part of the human psyche. Motivated by this ba sic desire\, each of the exhibition&rsquo\;s seven artists embarked on such a journey\, but with a twist. The artists&rsquo\; routes followed a &ldquo \;prescribed path\,&rdquo\; one in which the parameters were established be fore they ever ventured out. Mark Ruwedel followed the seventy-two-and-a-ha lf-mile route through Los Angeles previously taken by an urban hiker. Vito Acconci decided to let strangers on the streets of New York lead him. Kim A beles allowed a mountain\, smoggy conditions\, and &ldquo\;the way the crow flies&rdquo\; to determine her walk. Diane Meyer traced the ghostly existe nce of the Berlin Wall. The urban grid and the romantic pull of the ocean d irected Bas Jan Ader. Gabrielle Ferrer developed schemes for herself inspir ed by earlier wanderers and thinkers. Erin Mallea set out on the well-mappe d Appalachian Trail.

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Their projects s uggest diverse reasons for stepping out our doors&mdash\;to follow in someo ne else&rsquo\;s footsteps (whether they are just in front of you or whethe r they have long since passed)\, to trace historical wounds\, to make a pil grimage\, or to pursue a hero&rsquo\;s journey in search of a transcendent experience. In the process\, they articulate dreams and fears that we all s hare\, and maybe they will inspire us to step out of our daily routines to follow our own prescribed paths.  \;

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Artists&rsquo\; Ta lk and Opening Reception
Saturday\, September 13
Artists &rsquo\; Talk (2:30&ndash\;4pm)\, Reception (4&ndash\;6pm)
Murphy Reci tal Hall and Laband Art Gallery

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Join us for a conversation with art ists Kim Abeles\, Gabrielle Ferrer\, Erin Mallea\, and Diane Meyer at 2:30p m and then come celebrate with the artists at an opening reception from 4&n dash\;6pm.

DTEND:20141123 DTSTAMP:20140916T023205 DTSTART:20140913 GEO:33.9704172;-118.4174046 LOCATION:Laband Art Gallery\,Loyola Marymount University 1 LMU Drive\nLos A ngeles\, CA 90045 SEQUENCE:0 SUMMARY:Following the Prescribed Path\, Kim Abeles\, Vito Acconci\, Bas Jan Ader\, Gabrielle Ferrer\, Erin Mallea\, Diane Meyer\, Mark Ruwedel UID:356386 END:VEVENT BEGIN:VEVENT DTEND:20140913T180000 DTSTAMP:20140916T023205 DTSTART:20140913T160000 GEO:33.9704172;-118.4174046 LOCATION:Laband Art Gallery\,Loyola Marymount University 1 LMU Drive\nLos A ngeles\, CA 90045 SEQUENCE:0 SUMMARY:Following the Prescribed Path\, Kim Abeles\, Vito Acconci\, Bas Jan Ader\, Gabrielle Ferrer\, Erin Mallea\, Diane Meyer\, Mark Ruwedel UID:356387 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140913T160000 DTSTAMP:20140916T023205 DTSTART:20140913T140000 GEO:34.093196;-118.338969 LOCATION:Kohn Gallery\,1227 N. Highland Avenue \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Book Signing: Paintings\, Eddie Martinez UID:356101 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140913T180000 DTSTAMP:20140916T023205 DTSTART:20140913T160000 GEO:34.0314527;-118.3761739 LOCATION:SUSANNE VIELMETTER LOS ANGELES PROJECTS\,6006 Washington Blvd \nCu lver City\, CA 90232 SEQUENCE:0 SUMMARY:Walkthrough with the Artist\, Edgar Arceneaux UID:356100 END:VEVENT BEGIN:VEVENT DESCRIPTION:

FOR IMMEDIATE RELEASE \;

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VICTOR MATTHEWS | bright&hellip\; brighter&hellip\; brightest

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September 13 &ndash\; October 30\, 2014

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LOS ANGELES\, CA (Se ptember 5\, 2014) - KM Fine Arts | Los Angeles is pleased to present VICTOR MATTHEWS | bright &hellip\;brighter&hellip\;brightest&hel lip\; opening 13 September through 30 October 2014. \; This ex hibition marks Victor Matthews first solo exhibition in Los Angeles since t he opening of his west coast studio earlier this year. \; The exhibitio n features 27 paintings and sculpture accompanied by a fully illustrated ca talog and essay by Doug McClemont. \;

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Matthews\, an internation ally exhibited artist who lives both in Los Angeles and New York\, is a New York native with roots in Brooklyn where he was born in 1963. He is a grad uate of the New York High School of Art and Design and earned his BFA from the Art Institute of Fort Lauderdale\, Florida. After completing his studie s\, Matthews moved back to New York in 1984 to set up his first studio in t he East Village. \;

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As a young artist Matthews began his career in New York alongside artists like Richard Hambleton\, and Keith Haring wh o taught Matthews how to stretch canvas. \; The influence of the first real &ldquo\;street art&rdquo\; movement on his work is palpable. Although he has been known to use the street as a canvas\, he is in every aspect a s tudio painter\, and has instead brought the street into his canvases. \ ;

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For the last decade Matthews has been creating perfectly choreogr aphed mosaic-like paintings of whitewashed and abstracted cityscapes. His c anvases\, visually complex\, are teeming with objects and abstracted shapes formed out of a bright white and heavy impasto paint. Each form sits on a raw canvas background\, elbow to elbow with others without overlapping.

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While painting in his New York studio\, banal urban objects such as sn eakers\, hydrants and brick find their way into his Zen-like paintings. Abs tracted brick walkways are topped with sneakers in profile\, water towers s tand like mountains and stylized pigeons sit comfortably atop the Brooklyn Bridge.

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This Los Angeles exhibition marks an unexpected shift in hi s paintings. For past year Matthews has called his Los Angeles studio home\ , and all of the works in the exhibition were created on what he affectiona tely calls &ldquo\;the West Side of America.&rdquo\; \; This new work i s markedly more abstract and reflects the nature of a more sprawling enviro nment. The intricacies of the urban streets are replaced with new kinds of modernist foliage and organic shapes that hint at a story rather than tell it outright.  \;Each shape has become more of the idea or an impression of an object rather than one that is clearly identifiable.

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An even more surprising development in his &ldquo\;west side&rdquo\; paintings is the incorporation of color\, or what he refers to as &ldquo\;tones&rdquo\; or &ldquo\;moods&rdquo\;. Rich blue\, oranges\, and yellows have found a ho me in his new paintings and serve as warm backgrounds for the still-bright objects to float upon. They exude a calm richness without losing their brig ht and hopeful optimism.

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 \;Although this will be Victor&rsquo\ ;s first solo exhibition in Los Angeles\, he has been exhibited in numerous solo exhibitions in the US and abroad including the 48th Venice Biennale in 1999\, Museum Sala Uno (Rome)\, the Boca Museum of Art\, the G uggenheim Museum (Venice) and The Sculpture Center (New York). In 2013\, Ma tthews exhibited in the 55th Venice Biennale\, friends and collectors Salma n Rushdie and Francesco Clemente composed the introduction for the publishe d catalog.

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His work is in the permanent collections of the Museum O verholland (Amsterdam)\, the International Center for Contemporary Art (Rom e)\, Cornell University (Ithaca NY)\, Museum Ludwig (Cologne)\, New School (New York)\, and Museum Nuova Icona (Venice)\, as well as in the private co llections of Russell Simmons\, Brice &\; Helen Marden\, Jay Z\, L.A. Rei d\, Francesco &\; Alba Clemente\, Vera List\, Ed Norton\, Mary J. Blige\ , Nathaniel Rothschild\, Forest Whitaker\, President Mogae of Botswana\, Do nald Trump\, Ronald Perelman and Salman Rushdie\, among others.

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About KM Fine Arts

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Located in both Ch icago and Los Angeles\, KM Fine Arts museum quality settings have offered c ritically acclaimed exhibitions since 2006. In January 2013\, KM Fine Arts celebrated the inaugural opening of our Los Angeles space\, further expandi ng the contemporary art program. Within that same year KM Fine Arts was inc luded in the TOP 500 GALLERIES in the world list by Modern Painters/Blouin Media. The Gallery specializes in the finest American and European artists of early modernism\, postwar and contemporary art. Areas of expertise inclu de postwar movements\, including Abstract Expressionism\, Color Field paint ing and contemporary art. The newly launched contemporary program focuses o n museum quality emerging and mid-career artists\, fostering personal growt h and nurturing a continuous stream of creative development through studio visits\, special projects and exhibitions.

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The gall ery program includes works by Georg Baselitz\, Norman Bluhm\, Fernando Bote ro\, James Brooks\, Alexander Calder\, John Chamberlain\, Michael Goldberg\ , Hans Hofmann\, Robert Indiana\, Wolf Kahn\, Joan Miro\, Pablo Picasso\, R obert Rauschenberg\, and Andy Warhol along with contemporary artists Eric F ischl\, Ramsey Dau\, D\, Carole Feuerman\, Kim Gottlieb-Walker\, Dana Louis e Kirkpatrick\, Gary Lang\, Victor Matthews\, Brendan Murphy\, Ruth Pastime \, Cole Sternberg\, and Bernie Taupin among others.

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For more information contact:

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KM Fine Arts | Chicago - Los Angeles

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Ana M. Hollinger \; | Director\, Managing Partner

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Phone: 312.255.1319

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Email: director@kmfinearts.c om

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www.kmfin earts.com

DTEND:20141030 DTSTAMP:20140916T023205 DTSTART:20140911 GEO:34.0856726;-118.3764322 LOCATION:KM Fine Arts\,814 N. LaCienega \nLos Angeles\, CA 90069 SEQUENCE:0 SUMMARY:Victor Matthews | bright … brighter … brightest\, Victor Matthews UID:356037 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gallery Luisotti is pleased to announce \;Rome Works\, \;an exhibition of new photograph s from Catherine Wagner. Featuring photographs taken in major collections a cross Rome\, and first shown at the American Academy in Rome where she rece ived the Rome Prize for 2013/14\, this exhibition will be the first US view ing of the series. \;Rome Workscaptures both ancient and renai ssance-era sculpture with a focus on the contexts in which these works are displayed and conserved. In this way\, \;Rome Works \;reve als the layers of time present when exhibiting artworks\; Wagner&rsquo\;s c amera finds the past\, the sculpture itself\, colliding with the present\, the public display. Wagner continues a long held interest in exploring\, an d documenting\, archives of visual culture.  \;

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Whether we look at her photographs of the construction of Sa n Francisco&rsquo\;s Moscone Center in 1979-81\, her work on museum archive s in \;Museum Pieces \;from 1999\, or the \;Re-Cla ssifying History \;project documenting pieces in the De Young Muse um collection\, Catherine Wagner&rsquo\;s art has a long held interest in t he layers of history made public. What distinguishes Wagner&rsquo\;s \; Rome Works \;from her prior interest in museum objects and arc hives in particular is a renewed focus on context. Where earlier works cast objects against a black background\, such as those fromReparations \;(2010)\, in Rome Works we come to view a number of objects in situ. Consider\, for example\, \;Boy with Four Shadows \;The an tique\, fragmentary sculpture is photographed on its pale-green pedestal ag ainst slightly darker green walls. As much as we become aware of the aged w hite marble of the sculpture itself\, Wagner&rsquo\;s photograph plays in t he several shadows the artwork casts upon the wall. Doing so\, Wagner draws our eye to the method of display. As vibrant as the sculpture&rsquo\;s pre sentation seems to be\, there is very little historical information\; no di dactic or identifying labels to pin the sculpture to history\, and no accom panying sculptures to give a sense of its stylistic moment. Wagner&rsquo\;s photograph frees the sculpture from a historical narrative while bringing the display of its aesthetic and conceptual attributes present.

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Wagner refers to her disruption of historical na rratives with display methods as &ldquo\;a collision in time.&rdquo\; Her p hotographs find sculpture in the midst of transformation\, as well as under conservation. We find fragments of figurative sculpture being put back tog ether or a model of an architectural element (Inverted Capital) th at have long lost their original function and only here reveal their subtle beauty. In \;Angel Encased (Bernini) \;\, Wagner captures the artist&rsquo\;s work from behind. Bernini\, known for his focus on the entire figure\, backside as much as front\, and his flair for drama and em otion\, is found by Wagner to be shrouded by a cold\, transparent display. Wagner&rsquo\;s photograph verges on a Francis Bacon painting here\, not in its abstraction\, but in the barren psychology of the space\, the marker o f our time\, and the manner by which we seek to understand the past.

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Catherine Wagner has been in numerous solo and group exhibitions internationally\, including recent exhibitions at Museum of Modern Art\, San Francisco and Museum of Contemporary Photogra phy\, Chicago. In addition to her photographic work\, Wagner has created la rge-scale public art works for the City of San Francisco\, the UCSF Medical School\, and the City of Los Angeles. She was recently awarded Rome Prize. Wagner&rsquo\;s work is represented in the collections of the Museum of Mo dern Art\, New York\; the Whitney Museum of American Art\; Museum of Modern Art\, San Francisco\; the Metropolitan Museum of Art\, New York\; the Los Angeles County Museum of Art\, The Museum of Fine Arts\, Houston\; the Vict oria and Albert Museum\, London\; amongst many others. For more information about the artist and the exhibition\, or for a complete curriculum vitae o f the artist\, please contact Gallery Luisotti at \;(310) 453-0043 \;or by email at&nbs p\;info@gallerylu isotti.com.

DTEND:20141025 DTSTAMP:20140916T023205 DTSTART:20140913 GEO:34.0276049;-118.4678444 LOCATION:Gallery Luisotti\,2525 Michigan Ave. Bergamot Station: Gallery A-2 \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Rome Works\, Catherine Wagner UID:355893 END:VEVENT BEGIN:VEVENT DTEND:20140920T190000 DTSTAMP:20140916T023205 DTSTART:20140920T170000 GEO:34.0276049;-118.4678444 LOCATION:Gallery Luisotti\,2525 Michigan Ave. Bergamot Station: Gallery A-2 \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Rome Works\, Catherine Wagner UID:355894 END:VEVENT BEGIN:VEVENT DESCRIPTION:

New Image Art is pleased to announce: \;< /p>\n

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The one and only Neck Face will conduct a Q &\; A and discuss his latest artwork  \;

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Thursday\, September 11th \; 4:00 \;in the after noon  \;

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Please \; RSVP for entrance  \;

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 \;info@newimageartgallery.com

DTEND:20140911T170000 DTSTAMP:20140916T023205 DTSTART:20140911T160000 GEO:34.0907059;-118.3621338 LOCATION:New Image Art Gallery\,7920 Santa Monica Blvd. \nWest Hollywood\, CA 90046 SEQUENCE:0 SUMMARY:Lecture and Q & A \, Neck Face UID:355892 END:VEVENT END:VCALENDAR