BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20160530 DTSTAMP:20160530T052845 DTSTART:20160530 GEO:34.0276049;-118.4678444 LOCATION:ROBERT BERMAN GALLERY B7\,2525 Michigan Ave. Suite B7 at Bergamot Station Arts Center\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY: Jean Clemmer: Collaborations Salavador Dali and Paco Rabanne UID:419832 END:VEVENT BEGIN:VEVENT DTEND:20160530T200000 DTSTAMP:20160530T052845 DTSTART:20160530T180000 GEO:34.0276049;-118.4678444 LOCATION:ROBERT BERMAN GALLERY B7\,2525 Michigan Ave. Suite B7 at Bergamot Station Arts Center\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY: Jean Clemmer: Collaborations Salavador Dali and Paco Rabanne UID:419833 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Susanne \;Vielmetter \ ;Los Angeles Projects is pleased to announce the gallery&rsquo\;s second so lo exhibition with Dutch-born Los Angeles-based painter\, Lies Kraal\, in G allery 4.
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Kraal is known for her modestly scaled and intentl y worked monochrome paintings\, which often feature smooth horizontal and v ertical ridges. These ridges are sometimes dramatically visible: casting sh adows in the right light and from certain angles. At other times\, from a d ifferent perspective\, they dissolve into the picture plane without a trace . In this exhibition\, Kraal presents a series of eight 15&rdquo\; x 30&rdq uo\; diptychs completed over the last two years. This body of work is inspi red by the artist&rsquo\;s recent travels\, adding an abstract referentiali ty to her usually objective approach.
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Surface texture is an important aspect of Kraal&rsquo\;s painting\; one she employs to encourage slow looking. In these paintings she draws the viewer in with the contrast between the soft-focus of a matte surface and the sharpness of gloss\; the balanced relationship between cerulean blue and a creamy tangerine\; the su btle speckles in a velvety plane of cool dirt brown. Sometimes\, as in an i cy white diptych\, the obvious differences between matte and gloss disappea r. Instead you might notice a blue glow\, perhaps produced by your own reti na\, which appears slightly more pronounced in the painting on the right-ha nd side.
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These textures\, colors and effects are very diffic ult to produce with acrylic paint. She often makes her own paint with powde red pigments collected on her travels in order to develop deeply saturated color. Each panel has been painted and sanded at least 100 times by hand so that even on the most uniform and plastic surfaces in Kraal&rsquo\;s work\ , there is a sense of the organic. These areas of slight difference move an d change as your body engages the work. Kraal often remarks that she would like the viewer to feel her paintings without touching them.
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Since 1989 Lies Kraal has shown her work both nationally and international ly\, with solo exhibitions in Los Angeles\, Santa Fe\, Mexico City and Germ any. She has been included in important group exhibitions in New York\, Los Angeles and Rome. In 2015 she was one of only six artists chosen to repres ent the Panza Collection in a tribute to Dr. Panza in Rome. In 2003 she was a resident at the Chinati Foundation\, Marfa\, Texas\; in 2005 a COLA Fell owship recipient\, Los Angeles\; in 2014 invited to the Parkfield Project\, an artist retreat in California. Her work is included in the Panza Collect ion\, Milan\, Italy\; the Jumex Colección\, Mexico City\; the Weisman Coll ection\, Los Angeles\, among others.

DTEND:20160709 DTSTAMP:20160530T052845 DTSTART:20160604 GEO:34.0314527;-118.3761739 LOCATION:Susanne Vielmetter Los Angeles Projects\,6006 Washington Blvd \nCu lver City\, CA 90232 SEQUENCE:0 SUMMARY:Solo Exhibition\, Lies Kraal UID:419813 END:VEVENT BEGIN:VEVENT DTEND:20160604T200000 DTSTAMP:20160530T052845 DTSTART:20160604T180000 GEO:34.0314527;-118.3761739 LOCATION:Susanne Vielmetter Los Angeles Projects\,6006 Washington Blvd \nCu lver City\, CA 90232 SEQUENCE:0 SUMMARY:Solo Exhibition\, Lies Kraal UID:419814 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Susanne Vielmetter Los Angeles Projects is pleased to announce our fourth solo exhibition with Los Angele s artist Andrea Bowers\, &ldquo\;Triumph of Labor.&rdquo\; This exhibition reflects the artist&rsquo\;s continued interest in the labor movement. By h ighlighting different types of work &mdash\; art\, activism and service &md ash\; the artist proposes an expansion of labor solidarity and political ac tivism. A subtext of the show is the notion of radical patience\; that ther e is more to a resistance effort than one lifetime and real change in our c ommunities requires immediate urgency and ongoing endurance.

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Over the last five years\, Bowers has made a series of large drawings on found cardboard that appropriate political graphics s panning the late 19th century through the present depicting powerful women. The exhibition is named for a 22-foot long drawing on cardboard made after a Walter Crane illustration (c. 1891) that celebrates a May Day march of w orkers. Alongside the &ldquo\;Triumph of Labor\,&rdquo\; Bowers will presen t a large installation of more than 100 photographs that she has taken at w orkers&rsquo\; rights marches from 2008 to the present including May Day\, The Fight For $15\, My Walmart\, and the SEUI (Service Employees Internatio nal Union). The two works are a bridge that joins generations over 100 year s apart who have committed to the vital work of fighting for a just society . Juxtaposed with Crane&rsquo\;s Euro-ethnic illustration\, Bowers&rsquo\; archive represents a diverse labor movement that intersects with immigratio n justice\, women&rsquo\;s rights\, health care\, education\, LGBTQ rights\ , and racial equality. The pairing of these two works investigates the role of art in documenting and reconsidering the historical record.

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In Gallery 2 Bowers presents a series of her int imate photo-realistic pencil and colored-pencil drawings of activists\, dra wn from the same archive of photographs. The drawings\, which are incredibl y labor intensive\, offer a pointed critique of the dominant depiction\, in art and activism\, of the single\, heroic (often white\, male\,) individua l affecting massive change with a single action. The tender attention and t ime that she dedicates to making these drawings foregrounds the significant work of the activists she depicts\, who dedicate themselves to the daily w ork of overturning the status quo. She focuses her attention on individuals committed to routine group activity as an act of citizenry.

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In Gallery 3 Bowers presents two sculptures that co nfront the current dilemma in higher education: the highest tuitions in his tory and the hiring of low-wage\, part-time professors with no job security . A table sculpture presenting her work on the collective bargaining team n egotiating Otis College of Art and Design&rsquo\;s first union contract is exhibited with an illuminated sign made from found cardboard and LED lights that reads &ldquo\;Education Should be Free.&rdquo\; A part-time faculty m ember at Otis\, Bowers has been an active member of the SEIU Local 721 coll ective bargaining team at the college for the last two years. This work has resulted in innumerable e-mails and reams of printed research. In the past Bowers has deployed tables in her work as a reference to the activist prac tice of tabling\; in this project activism shifts to contract negotiations in the boardroom. More than just an accumulation of material\, this install ation makes manifest the invisible labor of collective bargaining and the b ureaucratic processes that are required to establish more equitable labor p ractices.

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Triumph of Labor&rdquo\; co ntinues Bowers&rsquo\; work to find and present links in the historical rec ord and her own work as an activist that reveal the key and valuable role t hat artists play in making political change. Ultimately this connection com es through the labor of art-making and activism themselves &ndash\; the tim e spent in service to one project or another.

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Bowers&rsquo\; recent solo exhibitions include: In Situ 1- Andrea Bowers\, Espace Culturel Louis Vuitton\, Paris\, 2014\, #sweetjane\, Pomona and Pitzer College Museum of Art\, Claremont\, 2014\, Transformer (with Ol ga Koumoundouros)\, The Frances Young Tang Teaching Museum and Art Gallery\ , Skidmore College\, Saratoga Springs\, 2013 and The Weight of Relevance\, Wiener Secession\, Vienna\, traveled to The Power Plant\, Toronto\, 2007\, and ZKM\, Karlsruhe\, 2008. Bowers&rsquo\; work is held is the collections of The Hammer Museum of Art\, Los Angeles\, MoMA\, New York\, The Whitney M useum of American Art\, New York\, The Hirshhorn Museum and Sculpture Cente r\, Washington DC\, The Museum of Contemporary Art\, Los Angeles\, and Muse um Abteiberg\, Moenchengladbach\, Germany\, among others.

DTEND:20160709 DTSTAMP:20160530T052845 DTSTART:20160604 GEO:34.0314527;-118.3761739 LOCATION:Susanne Vielmetter Los Angeles Projects\,6006 Washington Blvd \nCu lver City\, CA 90232 SEQUENCE:0 SUMMARY:Triumph of Labor\, Andrea Bowers UID:419811 END:VEVENT BEGIN:VEVENT DTEND:20160604T200000 DTSTAMP:20160530T052845 DTSTART:20160604T180000 GEO:34.0314527;-118.3761739 LOCATION:Susanne Vielmetter Los Angeles Projects\,6006 Washington Blvd \nCu lver City\, CA 90232 SEQUENCE:0 SUMMARY:Triumph of Labor\, Andrea Bowers UID:419812 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160716 DTSTAMP:20160530T052845 DTSTART:20160611 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Miranda\, Knut Ivar Aaser\, Ethan Cook\, Mika Horibuchi\, Erica Mah inay UID:419805 END:VEVENT BEGIN:VEVENT DTEND:20160611T200000 DTSTAMP:20160530T052845 DTSTART:20160611T180000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Miranda\, Knut Ivar Aaser\, Ethan Cook\, Mika Horibuchi\, Erica Mah inay UID:419806 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Manhattan Beach\, CA &ndash\; Time 4 Art is thrilled to pres ent &ldquo\;Family Plot&rdquo\;\, a three artist exhibition highlighting ne w works by Los Angeles based artists: \;Ed Moses\,&nbs p\;Andy Moses\, andKelly Berg.

The exhibition will celebrate three generations of painters that are all r elated. This exhibition will feature works ranging from the emerging to the established\, from the representational to abstract\, from flat to dimensi onal\, and from black and white to explosions of color. All of this work al so deals in gesture of mark making as well as pursuing organic processes an d imagery that relates to the organic world.

At the top of the L os Angeles art scene for the past 50 plus years gracing national and intern ational private and museum collections\, legendary \;Ed Moses \;is regarded by many as a cultural icon. He refers to himself as a painter rather than an artist. He repels adherence to any one movement \, preferring instead a practice that is immersed in the moment. Such commi tment has led to a uniquely varied body of work that is invigorated by rest less re-invention and willingness to take risks.&ldquo\;I am not intere sted in expressing myself\; \;Ed Moses \;says\; I am interested in discovering things through meandering and chaos in the con fusion of painting.&rdquo\;

Encompassing a futuristic amalg am of abstraction and landscape\, \;Andy \;Moses \;continues to explore the natural world not to replica te imagery\, but to mimic nature itself. The enigmatic pieces with manipula ted surfaces and alchemical reactions evoke a sense of dynamic movement cap turing the viewer with a sense of pulsation and tension of the mysteriousne ss and the unknown below the surface. He has developed his work over decade s and it has ranged from being extremely monochromatic to working with pain t and color in extremely complex and varied ways\, with the notion of physi cally transmuting one type of material existence into another through keen and relentless observation and understanding.

Andy M oses \;says: &ldquo\;I have always been interested in fractal like patters that exist in nature\, those that repeat on a wide ra nge of scales though never precisely the same. These types of patterns simu ltaneously suggest both the interconnectedness and complexities of nature.& rdquo\;

Riding in the jagged edge between beauty and destru ction\, \;Kelly Berg \;creates textured gestural s urfaces with accents of delicate line work through the use of acrylic paint \, enamel inks\, metal mesh\, and plexiglass shards. The paintings invite t he viewer in to explore chaotic abstract constructed reliefs and mysterious cataclysmic scenes in both faraway and familiar landscapes. Berg&rsquo\;s lifelong obsession with nature began in her native state of Minnesota\, and has continued to inform the works she creates in Los Angeles today.

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Kelly Berg \;says: &ldquo\;I&rsquo\;ve spe nt quite a bit of time out on the road. When you drive there is a unique co mbination of motion\, sound\, and imagery coming together forming an all-en compassing cinematic experience. Out of that momentum begins my exploration s in the studio.&rdquo\;

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Family Plot is an exploration i nto the unveiling of the latest works by three artists.

DTEND:20160702 DTSTAMP:20160530T052845 DTSTART:20160526 GEO:33.8873032;-118.3845063 LOCATION:Manhattan Beach Art Center\,1560 Manhattan Beach Blvd. \nManhattan Beach\, CA 90266 SEQUENCE:0 SUMMARY:Family Plot\, Ed Moses\, Andy Moses\, Kelly Berg UID:419796 END:VEVENT BEGIN:VEVENT DTEND:20160526T200000 DTSTAMP:20160530T052845 DTSTART:20160526T180000 GEO:33.8873032;-118.3845063 LOCATION:Manhattan Beach Art Center\,1560 Manhattan Beach Blvd. \nManhattan Beach\, CA 90266 SEQUENCE:0 SUMMARY:Family Plot\, Kelly Berg\, Andy Moses\, Ed Moses UID:419797 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This art intensive is a collaboration between the Manhattan Beach Unified School District and Manhattan Beach Cultural Arts division to present the most gifted and dedicated high school students with an opportu nity to fully delve into visual arts. Students have taken months to explore \, experiment and create stellar artwork and showcase it during this exhibi tion.

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DTEND:20160713 DTSTAMP:20160530T052845 DTSTART:20160708 GEO:33.8873032;-118.3845063 LOCATION:Manhattan Beach Art Center\,1560 Manhattan Beach Blvd. \nManhattan Beach\, CA 90266 SEQUENCE:0 SUMMARY:StART Projects Exhibition\, Sofia Beck\, Julia DiFiori\, Stephanie Gonzalez\, Daisy Moreno\, Kellie Mullin\, Beckette Navarette\, Quin Nguyen\ , Emma Padgett\, Grace Shumaker\, Delia Urias UID:419794 END:VEVENT BEGIN:VEVENT DTEND:20160708T200000 DTSTAMP:20160530T052845 DTSTART:20160708T180000 GEO:33.8873032;-118.3845063 LOCATION:Manhattan Beach Art Center\,1560 Manhattan Beach Blvd. \nManhattan Beach\, CA 90266 SEQUENCE:0 SUMMARY:StART Projects Exhibition\, Sofia Beck\, Julia DiFiori\, Stephanie Gonzalez\, Daisy Moreno\, Kellie Mullin\, Beckette Navarette\, Quin Nguyen\ , Emma Padgett\, Grace Shumaker\, Delia Urias UID:419795 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CB1 Gallery is pleased to announce our third solo exhibition with New York artist \;Susan Silas. In this exhibitio n\, titled \;the self-portr ait sessions\, Ms. Silas will present photographs\, bronz e and beeswax sculptures and a video work. The exhibition will open on June \, 4th\, 2016 from 3 p.m. to 6 p.m. and runs through July 16th\, 2016.

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The works in \;the self-portrait sessions \;began as a n exploration of privacy and what Ms. Silas refers to as self-intimacy\, me aning the way in which we are different alone with ourselves than we are wi th others. At a time when privacy is disappearing and we are under constant surveillance both in the public realm and in our homes and on our computer s\, our notion of what privacy means is undergoing serious questioning and change. In these images\, the artist places herself in front of a large mir ror\, and returns her own gaze. The reference to Lacan&rsquo\;s mirror stag e is obvious and yet the degree to which our self is constituted through ou r own self-reflexive gaze vs. the gaze that is cast on us by the outside wo rld is deeply intermeshed and impossible to tease apart. At the same time\, body integrity and the boundary between inside and outside seem pretty bas ic. But as we submit to myriad platforms in which we voluntarily hand over information about ourselves or simply photograph ourselves and share these images ad infinitum\, the assumption that privacy is sacrosanct and that in teriority is both vital and indispensable no longer seem to be universally shared values. Hence the notion that artificial intelligence can replace ma n\, and may in fact. In Silas&rsquo\;s photographs there are multiple refle ctions but the mirror has disappeared from view\, creating a liminal space or ambiguity\, about which space is &ldquo\;real&rdquo\; and which is a ref lection. Over time\, the images themselves suggested content to the artist that was not initially conscious\; the examination of the aging female face and body.

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Self-portraiture was explored by the artist in the late 70s and a few of those images resurfaced when her family home was sold and one b &\; w image from 1979 is included in the exhibition. Ms. Silas als o began to cast her face in plaster in 1992. This project was picked up aga in in 2012 and the artist now casts her face yearly in the spring\, keeping track of the changes in appearance from one year to the next. Five plaster s have been cast in bronze and in beeswax for the exhibition ranging from t he first cast made in 1992 up to the most recent in 2015. The casts show dr amatic change\, first in a twenty year leap\, and then more subtle changes in yearly increments. By contrast\, in a series of eight color photographs\ , the artist documents changes in expression taking place from moment to mo ment. Ms. Silas was inspired by the life masks of President Abraham Lincoln on view at the National Portrait Gallery in Washington\, the extraordinary beeswax busts from the late nineteenth and early twentieth century by the Italian artist Medardo Rosso and especially by the eighteenth century Germa n sculptor Franz Xaver Messerschmidt\, whose &ldquo\;character heads&rdquo\ ; evolved out of a ritual of making faces in front of the mirror.

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M s. Silas&rsquo\;s work has been featured in Anti-Utopias\, Camera Austria\, Fotó\;mú\;vé\;szet\, Heist. Photography Collective\, and Artnet magazine and reviewed in Hyperallergic\, Artforum\, Art in America\ , the Village Voice\, and the New Yorker. Her occasional essays have been p ublished in the New York Times\, Theo Westenberger Estate\, Exquisite Corps e\, thirteen.org REEL 13\, Frog\, and Podium. She is a regular contributor to the online art magazine Hyperallergic and co-editor of the artblog MOMMY . Ms. Silas has been interviewed on the radio by MsRepresent: Behind the Fa ce\, a Fierce Woman\, at Rabble magazine\, Museum of Non Visible Art at Yal e University Radio\, ArtonAir. org.\, and the BBC. She has been awarded res idential fellowships from The MacDowell Colony\, The Corporation of Yaddo\, VCCA\, Ucross Foundation\, New Space Arts Foundation in Vietnam and the Na tional Parks Service at Everglades National Park. Ms. Silas received her BA in History at Reed College in Portland\, Oregon and her MFA in Fine Art at California Institute of the Arts in Valencia\, California.

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http:// cb1gallery.com/project/susan-silas-self-portrait-sessions/

DTEND:20160717 DTSTAMP:20160530T052845 DTSTART:20160604 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:the self-portrait sessions\, Susan Silas UID:419790 END:VEVENT BEGIN:VEVENT DTEND:20160604T180000 DTSTAMP:20160530T052845 DTSTART:20160604T150000 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:the self-portrait sessions\, Susan Silas UID:419791 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CB1 Gallery is pleased to present our second solo exhibition of the work of LA-based artist \;Annelie McKenzie\,&n bsp\;Man in Canoe and Grizzly. The title comes from a 1960 painting of the same name by Canadian landscape artist Gladys Johnson. The exhibition will be on view fr om June 4 through July 16\, 2016. A reception for the artist will be held o n Saturday\, June 4\, 2016.

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In the party game \;Who&rsquo\; s Coming to Dinner? \;participants are asked to choose any number of dinner guests\, famous or not\, from any period in time\, and imagine wh at the party would be like. Annelie McKenzie&rsquo\;s exhibition is her per sonal variation of that game\, except that she has imagined a museum exhibi tion\, choosing artists&mdash\;famous or not\, from any period in time&ndas h\;and they become her &ldquo\;Old Masters.&rdquo\;

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McKenzie&rsquo\ ;s practice is not to create exact replicas of their works but is more inte rested in creating cover songs or valentines: loose impersonations made in order to ponder\, revel in\, decorate\, and pile onto the imagery of the or iginals. Artists referred to in this collection include the women of Beaver Hall (a Canadian painting collective from the 1930s)\, Rosalie Filleul\, G ladys Johnston\, and the artist&rsquo\;s mother. The paintings in the exhib ition are in playful dialogue with each other as they are mirrored\, repeat ed\, confirmed\, and transformed.

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Born in Montreal\, Canada\, Annel ie McKenzie graduated from the University of Calgary with a BFA and earned her MFA from California State University\, Long Beach\, in 2013. In additio n to art\, she has a music background and plays the piano\, clarinet and dr ums and has an ongoing collaborative practice with artist Tina Linville. In addition to her CB1 Gallery exhibitions\, she has exhibited at Mark Moore Gallery (CA)\, 18th Street Arts Center (CA)\, Contemporary Calgary (Canada) \, Wignall Museum (CA)\, Den Contemporary (CA)\, and other spaces throughou t Southern California\, Canada\, and South Korea. She won the \;Aga inst the Grain \;Award in 2012 and was recently named one of \ ;Eight LA Artists You Should Know \;in Fabrik Magazine #19.

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http://cb1gallery.com/project/annelie-mckenzie-man-canoe-grizzly/

DTEND:20160717 DTSTAMP:20160530T052845 DTSTART:20160604 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Man in Canoe and Grizzly\, Annelie McKenzie UID:419788 END:VEVENT BEGIN:VEVENT DTEND:20160604T180000 DTSTAMP:20160530T052845 DTSTART:20160604T150000 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Man in Canoe and Grizzly\, Annelie McKenzie UID:419789 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Epic Carnival at Daniel Rolnik Gallery

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htt p://www.danielrolnikgallery.com/

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DAY: June 11th

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TIME: Noon to Midnight

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PERFORMANCES by lo cal bands and Comedians: 12pm - 9pm

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ADDRESS: 2675 S La C ienega Blvd\, Los Angeles\, CA 90034

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VENDOR LIST

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(it keeps g rowing)

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LOCA L ART MAGAZINES

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amadeus Mag

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No Greater Good Mag

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The Gremlin Quarterly

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LOCAL SKATE SHOP

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Courthouse

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LOCAL ARTISTS

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Kat Philbin &\; Big Tasty

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Tuesday Bassen

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JT Steiny &\; John Char les Bricker (OTIS College art collective composed of JT's students)

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Mary Delioussina

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@AtticusLovesYou

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Tim McCormick

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LOCAL PRINTMAKERS

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Little Friends of Printmaki ng

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PINS

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TapCo

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World Famous Original

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Hannah Nance Partlow

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LOCAL SOFT GOODS

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Steff Bomb

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Penny Sparkle Designs

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< strong>LOCAL GALLERIES

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Flower Pepper Gallery (P asadena\, CA)

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Giant Robot (West LA)

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C o-Lab Gallery (Highland Park)

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LOCAL ANIMALS

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Chamaco the Griffon

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LOCAL FOOD

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East Los Musubi

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Waterfall Sorbet

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LOCAL BANDS - (SCHEDULE)

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Victoria - 12:30pm - 1:00 pm

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Kalisher - 1:15pm - 1:55pm

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Twentyt wofourteen - 2:10pm - 2:50pm

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Brissey - 3:05pm - 3:50pm\n

Cotton Ships - 4:05pm - 4:50pm

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Celebri ty Crush - 5:05pm - 5:50pm \;

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hit me\, Harold - 6:05 pm - 6:50pm

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Paper Days (San Diego) - 7:05pm - 7:50pm

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Hollow Ran - 8:05pm - 8:50pm

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Pedestrian - 9:05pm - 9:50pm \;

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&nbs p\;

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ART SHOW INSIDE DANIEL ROLNIK GALLERY

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"KROSSD KOVERS" - a select ion of rock n' roll inspired paintings and prints by Keith Dugas (@KROSSDar t) including the artist's micro version of the ABC's (A is for Andy Warhol\ , Z is for Frank Zappa\, etc...)

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DTEND:20160611 DTSTAMP:20160530T052845 DTSTART:20160611 GEO:34.0337742;-118.3764509 LOCATION:Daniel Rolnik Gallery\,2675 S LA CIENEGA BLVD \nLOS ANGELES\, CA 9 0034 SEQUENCE:0 SUMMARY:Epic Carnival\, Keith Dugas\, Little Friends of Printmaking\, Tuesd ay Bassen UID:419776 END:VEVENT BEGIN:VEVENT DTEND:20160611T230000 DTSTAMP:20160530T052845 DTSTART:20160611T120000 GEO:34.0337742;-118.3764509 LOCATION:Daniel Rolnik Gallery\,2675 S LA CIENEGA BLVD \nLOS ANGELES\, CA 9 0034 SEQUENCE:0 SUMMARY:Epic Carnival\, Tuesday Bassen\, Keith Dugas\, Little Friends of Pr intmaking UID:419777 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Paloma Powers\, the futurist a rt agitator and dark materialist\, is fascinated by the body as an interfac e for aesthetic intervention\, inside and out. As the line between art obje ct and lifestyle accessory is increasingly blurred\, does corporeal sensati on itself also become commodity?

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This summer\, Paloma is pleased to present a special intervention at Various Sm all Fires inspired by ASMR (Autonomous Sensory Meridian Response)\, the psy cho-physical &ldquo\;tingling&rdquo\; sensation triggered by various stimul i\, that has become the basis for an entire online subculture.

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Through a new sound piece by Berlin&rsquo\;s Clai re Tolan and a live workshop/symposium in late June\, ASMR will be explored as a key site where the body\, technology\, ritual\, and commerce intersec t\, and what provocative possibilities this holds for artists\, scientists and speculative capitalists alike.

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Cl aire Tolan&rsquo\;s &ldquo\;Maybe it wants what it wanted inside out&rdquo\ ; will premiere as a 5-channel installation in Various Small Fires sound co rridor (parallel to the group exhibition &ldquo\;No! I Am No Singular Instr ument&rdquo\; curated by Samuel Kenswil)\, and will also be available to ex perience online
via vsf. la and palomapowe rs.com.

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Claire Tolan&rsquo\;s cur rent work with ASMR uses the soft and mesmerising sounds as equipment in so metimes sweet\, and sometimes sardonic\, systems of soothing.

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On June 25\, a symposium/workshop will convene spe cial guests from the worlds of art\, sound\, neuroscience and online commun ities to discuss this enigmatic phenomenon and tailor live experiences for the participants.

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ABOUT CLAIRE TOLAN

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Since 2013\, much of Claire Tolan&rsquo\;s work h as found its foundation in the sounds of ASMR\, Autonomous Sensory Meridian Response. Tolan has hosted

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&ldquo\;Y ou&rsquo\;re Worth It\,&rdquo\; an ASMR show on Berlin Community Radio for over two years. She has also worked with ASMR in performance\, recording\, and exhibition\, collaborating with musician Holly Herndon\, writer and art ist Inger Wold Lund\, and artist Camilla Steinum\, among others. Tolan was the

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2015 Goethe-Institut and SPACE Pe rlin Noise sound artist-in-residence at London&rsquo\;s White Building. At present\, Tolan is developing an ASMR-inspired tabletop role-playing game ( RPG) system.

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ABOUT PALOMA POWERS

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Paloma Powers is a creative agency and consultancy de veloping innovative\, artist-led solutions for clients beyond the tradition al art world. Led by Ms. Powers and her associates in New York\, Los Angele s\, Shanghai\, and Amsterdam\, the company specializes in connecting art wi th other industries through consulting\, matchmaking\, and production.

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Paloma Powers (né\;e Paloma Li-Cruz) is a Brazilian born polymat h with over 30 years of experience on the cutting edge of the global art wo rld. Early milestones include serving as first creative director of MTV Jap an\, uncredited stylist to Grace Jones\, and muse to Helmut Newton. In her years on the International Color Council\, she coined the term &ldquo\;grei ge&rdquo\;\, and also pioneered the first art-by-Laserdisc subscription ser vice. She established her latest company\, Paloma Powers\, as a response to limited business models within a changing art world\, to elevate the role and value of cultural workers\, and to broaden the audiences and contexts f or art.

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http://www.palomapowers.com

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http ://www.instagram.com/paloma_powers

DTEND:20160709 DTSTAMP:20160530T052845 DTSTART:20160604 GEO:34.0857121;-118.3383265 LOCATION:Various Small Fires\,812 North Highland Avenue \nLos Angeles\, Cal ifornia 90038 SEQUENCE:0 SUMMARY:Presented by Paloma Powers: Maybe it wants what it wanted inside ou t\, Claire Tolan UID:419770 END:VEVENT BEGIN:VEVENT DTEND:20160604T210000 DTSTAMP:20160530T052845 DTSTART:20160604T190000 GEO:34.0857121;-118.3383265 LOCATION:Various Small Fires\,812 North Highland Avenue \nLos Angeles\, Cal ifornia 90038 SEQUENCE:0 SUMMARY:Presented by Paloma Powers: Maybe it wants what it wanted inside ou t\, Claire Tolan UID:419771 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Built environments sculpt and erode us\, permeable and penetrable. Architecture and signage move us throu gh structures erected to suit flows of capital first\, and people perhaps s omewhere down the line. Notice your chair: is your spine in a C or S format ion? Design molds us into shapes\; so do politics\, expanding or limiting o ur range of motion.

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Bodies are highli ghted by absence: those left out of history and images\, deemed applicable for negation\, or willingly eschewing representation. LGBT people are made absent by a legacy of death\, visible in shuttered social spaces\, looming in self-conception.

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Taxonomies expand and contract as ethics shift. We anthropomorphize flora and fauna which la ck lingual vocal cords. The real estate of your presence is always a develo pment opportunity: the material of flesh changeable through repetitive exer tion. Are you unsettled by the proximity of you to the things arou nd you? How did you end up looking so much like your room?

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Meaning changes from context to context\; so do you. You spread your/selves out like limbs do.

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There is a persistent attempt to gather visual markers as a cohesive s ubjectivity\, a whole person made ergonomically into political certitude. A n individual\, through forced applicability of well-intentioned political e nds\, operates as means to the reproduction of norms. Trending language fav ors &ldquo\;bodies&rdquo\; over &ldquo\;people\,&rdquo\; abstracting those &ldquo\;bodies&rdquo\; whose corporeality would be politically constituted: a body that fits into\, a body that works. You &hellip\; abridged .

DTEND:20160709 DTSTAMP:20160530T052845 DTSTART:20160604 GEO:34.0857121;-118.3383265 LOCATION:Various Small Fires\,812 North Highland Avenue \nLos Angeles\, Cal ifornia 90038 SEQUENCE:0 SUMMARY:No! I am No Singular Instrument\, Hannah Black\, Brian Khek\, Ian M arkell\, Hannah Quinlan\, Rosie Hastings\, Ellen Schafer\, Hans Jacob Schmi dt\, Jala Wahid UID:419768 END:VEVENT BEGIN:VEVENT DTEND:20160604T210000 DTSTAMP:20160530T052845 DTSTART:20160604T190000 GEO:34.0857121;-118.3383265 LOCATION:Various Small Fires\,812 North Highland Avenue \nLos Angeles\, Cal ifornia 90038 SEQUENCE:0 SUMMARY:No! I am No Singular Instrument\, Hannah Black\, Rosie Hastings\, B rian Khek\, Ian Markell\, Hannah Quinlan\, Ellen Schafer\, Hans Jacob Schmi dt\, Jala Wahid UID:419769 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160709 DTSTAMP:20160530T052845 DTSTART:20160611 GEO:34.0340352;-118.3714502 LOCATION:Roberts & Tilton\,5801 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Worlds in Collision\, David Huffman UID:419764 END:VEVENT BEGIN:VEVENT DTEND:20160611T200000 DTSTAMP:20160530T052845 DTSTART:20160611T180000 GEO:34.0340352;-118.3714502 LOCATION:Roberts & Tilton\,5801 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Worlds in Collision\, David Huffman UID:419765 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In collaboration with \;Sa rah Beadle\, \;Walead Beshty\, Carolyn Caycedo\, \;Ventina Desideri \, \;Victoria Fu\, \;Charles Gaines\, \;Pablo Helguera\, \; Chris Kraus\, \;Dan Levenson\, \;Candice Lin\, \;Shana Lutker\, and \;Dave Muller.

DTEND:20160709 DTSTAMP:20160530T052845 DTSTART:20160604 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:The Artists' Library\, Warren Neidich UID:419762 END:VEVENT BEGIN:VEVENT DTEND:20160604T210000 DTSTAMP:20160530T052845 DTSTART:20160604T180000 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:The Artists' Library\, Warren Neidich UID:419763 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160709 DTSTAMP:20160530T052845 DTSTART:20160604 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:SHOWROOM\, Jillian Mayer UID:419760 END:VEVENT BEGIN:VEVENT DTEND:20160604T210000 DTSTAMP:20160530T052845 DTSTART:20160604T180000 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:SHOWROOM\, Jillian Mayer UID:419761 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160709 DTSTAMP:20160530T052845 DTSTART:20160604 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:So I Went To A Place\, Joshua Aster UID:419758 END:VEVENT BEGIN:VEVENT DTEND:20160604T210000 DTSTAMP:20160530T052845 DTSTART:20160604T180000 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:So I Went To A Place\, Joshua Aster UID:419759 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160709 DTSTAMP:20160530T052845 DTSTART:20160604 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Seeing Signs\, Kristin Calabrese UID:419756 END:VEVENT BEGIN:VEVENT DTEND:20160604T210000 DTSTAMP:20160530T052845 DTSTART:20160604T180000 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Seeing Signs\, Kristin Calabrese UID:419757 END:VEVENT END:VCALENDAR