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West Hollywood\, CA — 101/exhibit is pleased to announce the firs t annual Koi No Yokan contemporary art survey featuring Robin Eley\, Micah Ganske\, Craig Kucia\, Siobhan McClure\, Christopher Parrott and Gin a Ruggeri — June 22 through August 3\, 2013. The newly conceived exhibition will emphasize contemporary figural work proficient i n draftsmanship while moving into experimental territories. Koi No Yokan opens with an artist reception June 22\, 2013 at 710PM. 

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Koi No Yokan is a Japanese term that has no English equivalent. It loosely translates as: The sense one can have upo n first meeting another person and possessing the feeling the two will fall in love. This differs from “love at first sight” as it does not imply that the feeling of love already exists\, only the knowledge that a future love is inescapable. 

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Kevin Van Gorp\, director of 101/exhibit shares \, “The term Koi No Yokan is fitting for our first annual summer sho w. Each of the six featured artists are held in the highest regard for thei r accomplishments\, draftsmanship and work in the field. Koi No Yokan represents the essential notion for a fruitful relationship being imminen t in the near distant future.”

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101/exhibit actively presents important figurative works throughout the year. With the summer presentati on of Koi No Yokan each selected artist will have the opportunity to present conceptual deviations in compliment to the figural program.

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Koi No Yokan opens June 22 at 7PM and on view thro ugh August 3\, 2013.

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Australian realist painte r Robin Eley describes his paintings as “essays of observation\, bor n from a relentless examination of my milieu.” Robin Eley’s painted realism contemplates his relationship with time often revealing sociological under pinnings in direct response to isolation\, anxiety and failed ambition. Rob in is the recent finalist for the Archibald prize.

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New York fine artist and futurist Micah Ganske explores realism through painted an d sculptural forms. His recent body of ongoing work\, Tomorrow Land\ , addresses vacated land mass and mankind’s failed attempt at maintaining c ontrol of invention gone awry. Micah is the recent recipient of the Museum of Art and Design Open Studios Residency and Fellow in Painting from the Ne w York Foundation for the Arts. Micah Ganske also received his MFA from Yal e University.

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New York painter Craig Kucia explores the vi sual and psychological spaces that arise between memory and imagination\, o ften resulting in other-worldly compositions. His work often delivers simul taneous feelings of wakefulness and dream like states. Craig Kucia’s painti ngs are featured in the permanent collections of the Miami Art Museum in Mi ami\, High Museum of Art in Atlanta and the Progressive Art Collection in C leveland.

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Los Angeles native and narrative painter Siobhan McC lure creates expansive realms where children roam looking for safe have ns. Societal pressures expose flawed systems where singular points of view are protected by societal laws while failing to offer protection to the inh abitants of her divergent worlds. Siobhan McClure is a professor at Cal Sta te Long Beach.

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Contemporary realist painter Christopher Parrot t carefully arranges his youthful subjects\, often depicting them as se nsual and strong\, yet ambiguous and disinterested. Relationships shared ar e seemingly fluid and temporal\, on the brink of unspoken words and endings . Parrott’s compositions frequently divide the picture plane into halves\, thirds\, fourths\, and fifths\, using rectangular doorways\, walls\, and pa intings in the background to do so.

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New York fine artist Gina Ruggeri paints on mylar\, cuts out her compositions and applies her wor k directly against the wall. Gina’s work oscillates between the material an d the immaterial shared between painting\, (sensuous experience) and drawin g\, (conceptual experience). Gina is the recent recipient of a 2014 residen cy and fellowship with the Civitella Ranieri Foundation and currently teach es drawing at Vassar College and Purchase College\, State University of New York. Gina Ruggeri received her MFA from Yale University.

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DTEND:20130803 DTSTAMP:20140823T040118 DTSTART:20130622 GEO:34.0807161;-118.3873912 LOCATION:101/exhibit\,8920 Melrose Avenue \nWest Hollywood\, CA 90069 SEQUENCE:0 SUMMARY:Koi No Yokan\, Robin Eley\, Micah Ganske\, Craig Kucia\, Siobhan Mc Clure\, Christopher Parrott\, GINA RUGGERI UID:275252 END:VEVENT BEGIN:VEVENT DTEND:20130622T210000 DTSTAMP:20140823T040118 DTSTART:20130622T190000 GEO:34.0807161;-118.3873912 LOCATION:101/exhibit\,8920 Melrose Avenue \nWest Hollywood\, CA 90069 SEQUENCE:0 SUMMARY:Koi No Yokan\, Robin Eley\, Micah Ganske\, Craig Kucia\, Siobhan Mc Clure\, Christopher Parrott\, GINA RUGGERI UID:275253 END:VEVENT BEGIN:VEVENT DESCRIPTION:

1301PE is pleased to announce its fifth solo exhibition with Los Angeles based artist Kirsten Everberg. In her latest body of work\, Everberg continues her exploration of t he subjective nature of perception.
 
Everberg's paintings of emp ty interiors and unpeopled landscapes enter into a dialogue with one anothe r\, as motifs repeat and transform like recollected memories. She views the works in this exhibition as part of a circular\, non-linear narrative that can be entered at any point. In this respect\, her paintings reference a f luid cinematic space. More than simply illustrating specific scenes or fram es\, however\, these paintings uncover the persuasive power that images hav e to construct reality.
 

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"Ulti mately\, the works point to how images are framed\, archived\, and recalled by the viewer. The hazy edges and blurry lines of Everberg's paintings and works on paper seem clearly focused on the mediation of images within the broader landscape of visual culture."  – Gloria H. Sutton\, "Surface Effect s: Mediating Image Culture in the Paintings of Kirsten Everberg"

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It is Everberg's seductive surfaces th at first capture our gaze. Using a unique combination of oil and enamel pai nt\, her works hover between representation and pure paint. There is always a tension here between the convincing depiction of space\, and the abstrac t skeins of color that dance across the canvas. What appears to be an histo ric ballroom or dense jungle from far away\, is reconfigured into glossy po ols of paint close-up. Everberg's mastery of her medium is demonstrated by how deftly she walks this line. Narrative and image\; truth and fiction\; s urface and what lies beneath – are all woven together in Everberg's captiva ting works.

Kirsten Everberg lives and works in Los Angeles. She has had recent solo exhibitions at the Pomona College Museum of Art\, CA a nd the Scottsdale Museum of Contemporary Art\, AZ. She has been included in exhibitions at several international institutions including FRAC Champagne -Ardenne\, Reims\, France\; Le Consortium\, Dijon\, France\; Vancouver Art Gallery\, Vancouver BC\, Canada\; Museum of Contemporary Art\, Los Angeles\ , CA\; Hammer Museum\, Los Angeles\, CA\; and Musée des beaux-arts\, Nancy\ , France.

DTEND:20130629 DTSTAMP:20140823T040118 DTSTART:20130504 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kirsten Everberg UID:271664 END:VEVENT BEGIN:VEVENT DTEND:20130504T200000 DTSTAMP:20140823T040118 DTSTART:20130504T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kirsten Everberg UID:271665 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Public Drawing Days: Every Monday\, Wednesday\, Friday an d Saturday from 11am until 3pm\, April 15 - May 31\, 2013 (ongoing)

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Forêt Intérieure/Interior Forest is a dual-venue exhi bition and publication by Los Angeles-based artist Alexandra Grant in colla boration with Paris-based writer Hélène Cixous. This multi-dimensional proj ect\, which includes a residency component and contributions by both Los An geles-based and Paris-based artists\, is presented from April 15 to June 28 \, 2013 at 18th Street Arts Center in Santa Monica\, CA and from September 6 to October 20\, 2013 at Mains d’Oeuvres in Saint-Ouen\, France. Pilar Tom pkins Rivas\, Curator and Director or Residency Programs at 18th Street Art s Center\, and Isabelle Le Normand\, Curator of Visual Arts at Mains d’Oeuv res\, are co-organizers of this project.

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Project background

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Several years ago\, the iconic French author\, poet\, playwright an d philosopher Hélène Cixous gave Grant one of her books\, Philippines\, as a source for imagery and entreated the artist to make work about t he concepts present in the text.  Philippines is based around the story of Peter Ibbetson\, a novel by Georges du Maurier\, where two childhood friends are separated by class and country and reunite as adults in their shared dream-life.  The themes of Philippines are often paired: dreaming and reality\; telepathy and empathy\; the “perfe ct other\;” the shape of two nuts found in a single mandorla or almond (kno wn as a Philippine)\; and relationships between north and south\, man and w oman\, colony and colonizer\, and adult and child.

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Grant’s response to C ixous and Philippines is the project Forêt Intérieure/Inte rior Forest centering on the image of a forest as a representation of both the shared imagination and a place for congregation and collaborat ion.  Forêt Intérieure/Interior Forest includes a large-sc ale installation of a forest and a collaborative drawing that invites commu nity participation. Trees in the interior forest will be made of both text and textiles. The drawing\, functioning both as an illustration and a text scroll\, represents a visual narrative of Philippines. Created by Grant in conjunction with other artists and members of the public\, the pro cess of working jointly invites contemplation of Cixous’s concepts and deve lops a platform for shared imagining. The two iterations of the installatio n in both Santa Monica and Saint Ouen function as mirror images\, or twin v ersions of the same whole.

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Collaboration with others/Artists Res idencies

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Grant has created two ways for Los Angeles-based and P aris-based artists to participate in her project. First\, collaborating art ists are invited to produce “Visiting Trees” (Arbres d’Ailleurs) i nside the Forêt Intérieure/Interior Forest installation in either city. Second\, Grant has established “Drawing Residencies” as part of the process of creating the large-scale drawing. Artists are invited to lead the public\, including students\, guests and passersby\, in 3-hour gui ded sessions\, helping to realize the larger work. Participants to date in the project at 18th Street Arts Center creating “Visiting Trees” include Ch anning Hansen\, Bari Ziperstein\, Annelie McKenzie and Tina Linville\, and participants in the “Drawing Residencies” include Steve Roden\, Renee Petro poulos\, Lita Albuquerque and Audrey Cottin.

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Programming

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At 18th Street Arts Center\, Grant and USC professor Robert Nashak wil l host a reading group beginning in January 2013 for members of the Los Ang eles community interested in Cixous’s work.

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Programming at Mains d’Oeuvr es includes a public lecture by Hélène Cixous\, and a reading of Philip pines by Cixous’s long-term collaborator\, Daniel Mesguich\, an actor and director of the Conservatoire National Supérieur d’Art Dramatique.

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< strong>Publication

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18th Street Arts Center and Mains d’Oeuvres will co-publish an exhibition catalog documenting the mirror-image projects of Forêt Intérieure/Interior Forest and the collaborative nature of Grant’s work. Contributors to the publication include Alexandra Grant\, the curators Isabelle Le Normand and Pilar Tompkins Rivas\, Hélène Cixous\, Grant’s long-term collaborator\, the hypertext pioneer Michael Joy ce\, and Los Angeles-based art critic Andrew Berardini. The full-color cata log is edited by John Farmer and designed by Jessica Fleischmann.

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For more information:

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www.foretinterieure-interiorforest.com

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Facebook: www.facebook.com/ForetInterieureI nteriorForest

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Twitter: @InteriorForest

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Or conta ct:

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Pilar Tompkins Rivas

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ptompkins@18thstreet.org

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18th S treet Arts Center

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1639 18th Street

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Santa Monica\, CA 90404\ , USA

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www.18ths treet.org

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Isabelle Le Normand

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isabellelenormand@me.com

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Mains d’Oeuvres

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1\, rue Charles Garnier

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93400 Saint-Ouen\, FRANCE

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www.mainsdoe uvres.org

\n DTEND:20130628 DTSTAMP:20140823T040118 DTSTART:20130415 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Forêt Intérieure/Interior Forest\, Alexandra Grant UID:268075 END:VEVENT BEGIN:VEVENT DTEND:20130601T200000 DTSTAMP:20140823T040118 DTSTART:20130601T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Forêt Intérieure/Interior Forest\, Alexandra Grant UID:268076 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Through video\, sound and installation\, \;Shagha Ariannia&lsquo\;s work insists that personal and political domains are inext ricably linked. Her practice negotiates the physical and cultural gaps betw een her native Iran and her current home in the U.S.\, where she has lived for almost eleven years\; a distance of space and timethat she measures wit h small\, nuanced gestures. Drawing upon family experiences and the paradox of existing between political realms\, Ariannia responds to questions of r evolution\, immigration\, nationalism\, and global power relationships from within the framework of the intimate\, domestic sphere.

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Using surveilla nce footage of an interior setting\, \;Two America&rsquo\;s Away \;evokes an unsettling sense of waiting in a space absent of inhabitants and activity. By way of a \;security system insta lled in the home of the artist&rsquo\;s grandparents in Iran so that Ariann ia&rsquo\;s mother may monitor and look after her own aging parents\, we se e an intimate\, yet removed vantage point proclaiming a loving\, yet ruptur ed means of participating in the lives and well-being of family members fro m afar. While intended as a means of caring for loved ones in Shahrood\, Ir an from Los Angeles\, the piecealso comments on types of military watch sys tems monitoring distant subjects\, such as Long Range Surveillance units\, drones\, and satellites\, as well as invoking a sense of war-time waiting\, as ongoing threats of military action against Iran from the US and Israel persist.

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The \;sound piece \;Our Future is The Appro aching Past \;employs audio from a family cassette tape r ecorded and re-recorded over from 1978 to 1993\, which includes entries fro m different\, real moments in time. Dubbed over a tape originally holding r evolutionary songs\, we hear the artist&rsquo\;s mother teaching her childr en the English language\, and a young child singing a Farsi fable. The inte rlayering of a time capsule of political ideologies with the soft\, encoura ging voices of mother and child highlight the complexity of the artist&rsqu o\;s past and her place in the present. The disjuncture of the audio echoes uprooted family narratives relative to historic events.

DTEND:20130802 DTSTAMP:20140823T040118 DTSTART:20130519 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Two America's Away\, Shagha Ariannia UID:278686 END:VEVENT BEGIN:VEVENT DTEND:20130601T210000 DTSTAMP:20140823T040118 DTSTART:20130601T190000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Two America's Away\, Shagha Ariannia UID:278687 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Windshield Per spective focuses on a short yet dense stretch of Beverly Boulevard fro m Normandie to Virgil. The windshield is both a lens and a shield\; a scree n which acts much like a magnifying glass to clarify the view and as a scri m to obscure the sight. This drive along Beverly stands for hundreds\, if n ot thousands\, of daily journeys through the city’s landscape. The exhibit is about seeing and not seeing.

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Typically\ , our way of seeing from behind the wheel is unconscious. Beverly Boulevard \, in its apparent bleakness\, is easily dismissed as “nowhere\,” falling i nto the hole in our consciousness put there by the dominant notion that muc h (if not all) of Los Angeles is not a city at all. Roll up the windows\, c rank up the sounds\, and drive.

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But a choreographed drive\, recreated within the Museum\, reveals the very essence of the buil t city: messy\, disorderly\, impromptu\, and vital. Windshield Perspective will provide a way of seeing and a sight to be seen. The windshield is conv erted from scrim to lens.

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Windshield Perspective is part of Pacific Standar d Time Presents: Modern Architecture in L.A. and has been funded by grants from the Getty Foundation.  This collaboration\, initiated by the Getty\, b rings together several local arts institutions for a wide-ranging look at t he postwar built environment of the city as a whole\, from its famous resid ential architecture to its vast freeway network\, revealing the city’s deve lopment and ongoing impact in new ways.  A+D Architecture and Design Museum >\;Los Angeles is the only area museum with continuous exhibits of archit ecture and design\, and is honored to have been chosen to collaborate with the Getty as part of this hallmark event.

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 OPENING RECEPTION
THURSDAY\, MA Y 16th | 6.00 - 9.00pm
ADMISSION:$20 Individual\, $15 Student w/ vali d ID\, A+D Members FREE
>\;TICKET PURCHASE

>\;A+D MEMBERS RSVP

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DTEND:20130707 DTSTAMP:20140823T040118 DTSTART:20130517 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Windshield Perspective UID:264607 END:VEVENT BEGIN:VEVENT DTEND:20130516T210000 DTSTAMP:20140823T040118 DTSTART:20130516T180000 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Windshield Perspective UID:264608 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Martin Schoeller has earned a reputation as one of the pre-eminent portr ait photographers of our time\, having photographed subjects from President Barack Obama to numerous actors\, musicians and sports icons\, to indigeno us Amazonian tribesmen and women. With characteristic intimacy\, Schoeller’ s hyper-detailed work presents the prominent and unknown side by side\, in unequivocal terms.

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Consistently shooting each of his subjects in his singular crisp style\, Schoeller equalizes these photographic subjects in facial close-ups. As he states: “A photographic close-up is perhaps the purest form of portraiture\, creating a confrontation between the viewer an d the subject that daily interaction makes impossible\, or at least impolit e. In a close-up\, the impact stems largely from the static subject’s expre ssion or apparent lack thereof\, so the viewer is challenged to read a face without the benefit of the environmental cues we naturally use to form our inter-personal reactions.”

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In 2011\, when National Geographic magazine commissioned him to shoot an assignment on twins\, he began w hat would become a year-long pursuit of the subject on an international sca le\, which has resulted in an expansive new body of work that is being exhi bited for the first time at Ace Gallery Beverly Hills and is the subject of his latest book. Presenting twins\, triplets and quadruplets\, his images bare nuanced comparisons\; the camera capturing the subtlest differences of division from a single fertilized human egg. The odds of identical quadrup lets being born are one in 11-13 million\, for identical triplets\, and one in 150\,000. Even when separated at birth\, identical twins maintain their genetic similarities. As ‘duplicated people’ they share exact copies of th eir genes\, questioning our notions of individuality and personal uniquenes s: “They embody sameness and symmetry in the human form as literally and pr ecisely as nature permits.” The parallelism of natural clones are represent ed in a new approach to well-known subject matter\, i.e. revisiting the sub ject of Diane Arbus’s classic  Identical Twins\, Roselle\, New Jersey\, (1967)\, where Schoeller consciously humanizes his subjects by revealin g the individual characteristics of each and treating each separately altho ugh posed in the same position.

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Now renowned for his hyper-detailed faci al Close-Up’s\, Schoeller gained professional experience working as assista nt to Annie Leibovitz from 1993-96. Steering away from fashion photography and its dependence on the whims of designers and its seasonal stylistic obs olescence\, Schoeller sought an alternative. It was during this pre-digital era\, before the days of retouching\, that he developed the style which wo uld become his trademark. He would spend days setting up lighting tests and experimenting in extreme close up to find the most flattering lighting sce narios – examining how light effects faces\, and refining techniques in the dark room\, darkening and lightening certain areas. Even in his photograph y school days\, his pictures with homeless people were also in close-up. As he began to articulate his own close-up portrait aesthetic in the mid-1990 s\, his peers were producing extreme glamour and beauty shots with over-the -top production values (paramount being Leibovitz’s lavish sets i.e. for Vanity Fair or David LaChappelle). Schoeller’s work was the opp osite of what others were doing at the time: modest and simple\; “just abou t the person.” Schoeller cites a variety of mentors and influences from Ric hard Avedon to Philip-Lorca diCorcia\, yet singles out seminal German photo graphers Bernd and Hilla Becher - recognized for creating a formally auster e and consistent motif in their typologies of industrial structures. The re petition of similar but related subject matter - such as water towers and g as tanks - in the Becher’s work invites comparison\, and was adopted as a m odel within which Schoeller could develop a similar approach.

\n< p style="text-align: justify\;">Twins Day Festival in Twinsburg\, Ohio\, the largest annual gathering of twins (and o ther “multiples”) in the world\, provided a grand-scale casting session for Schoeller’s project. Recruiting from over 2000 twins and multiples\, they were photographed in the same style as diptychs (and triptychs). In the stu dy of faces\, physiognomy - Schoeller came to the conclusion that “faces do n’t really reveal that much about a personality. You can’t really tell by a face necessarily what goes on in a person’s mind.” In the Twins series\, t he aging process comes to the fore. While each two are born with the same g enetic information\, the aging process due to leading possibly very differe nt lives\, creates visible divergences. It is those small differences which beg the question\, what can be told from looking at a face?

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Portraits h appen to lie\; they require decision-making on the part of the photographer . They are constructed\, manipulated\, posed and styled. Even with straight forward shots such as these\, there are multiple choices\, and Schoeller’s aim in taking intimate portraits requires rapport. There was no additional styling\; these twins arrived on set ‘as is’ – wearing the same outfits\, j ewelry\, hairstyles\, and makeup.

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Is Schoeller conscious of feeding back his imagery into our saturated media culture? There are many fashion photo graphers doing ‘portraiture’ lacking authenticity (given they inhabit the s ame commercial magazine space and conceived\, constructed\, and circulated in the same way as advertising photography). To specifically show non-celeb rity images in the context of Los Angeles\, Schoeller further provokes the cloning debate\, asking the question of whether genetic-engineering has man ifested the advent of twin culture. As he observes of the natural occurrenc e\, “We assemble impressions of and form mysterious attachments to universa l features – hairline\, forehead\, eyes\, nose\, mouth\, and chin. We take their arrangements to be unique. Identical twins dispute that assumption.”< /span>

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Martin Schoeller was born in Munich\, Germany in 1968\, stud ied photography at Lette Verein in Berlin\, and lives in New York. His work has appeared in The New Yorker\, Vanity Fair\, Entertainment Weekly\, R olling Stone\, TIME\, GQ\, Esquire and Vogue. He has been staff photographer at The New Yorker since 1999. Schoeller had a major sol o exhibition in 2010-11 at the National Portrait Gallery\, Australia\, and last exhibited at Ace Gallery Beverly Hills with Female Bodybuilders in 2008.

DTEND:20130629 DTSTAMP:20140823T040118 DTSTART:20130504 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:Identical: Portraits of Twins\, Martin Schoeller UID:270594 END:VEVENT BEGIN:VEVENT DTEND:20130504T210000 DTSTAMP:20140823T040118 DTSTART:20130504T190000 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:Identical: Portraits of Twins\, Martin Schoeller UID:270595 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A solo exhibition of several recent egg tempera paintings on wood panel and works on paper. In his ninth solo exhibition at ACME.\, Norton continue s to use pure pigments to create captivating\, luminous paintings in a vari ety of sizes. Painted with thin layers composed over a long period of time\ , Norton's work appears purely abstract at first viewing\, but then quickly becomes a landscape or seascape of vast dimensions.

DTEND:20130706 DTSTAMP:20140823T040118 DTSTART:20130608 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Recent Paintings\, Michael Norton UID:278024 END:VEVENT BEGIN:VEVENT DTEND:20130608T200000 DTSTAMP:20140823T040118 DTSTART:20130608T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Recent Paintings\, Michael Norton UID:278025 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A solo exhibition of new ceramic work by Los Angeles based artist Matthi as Merkel Hess. In his second solo exhibition at ACME.\, Merkel Hess will f eature a large group of ceramic anvils presented on pedestals. Drawing upon his interest of the role of pottery in a world filled with the consumption of plastic forms\, Merkel Hess's current exhibition continues to use comed y and irony to transform utilitarian objects.

DTEND:20130706 DTSTAMP:20140823T040118 DTSTART:20130608 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Anvils\, Matthias Merkel-Hess UID:278027 END:VEVENT BEGIN:VEVENT DTEND:20130608T200000 DTSTAMP:20140823T040118 DTSTART:20130608T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Anvils\, Matthias Merkel-Hess UID:278028 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A solo exhibition featuring one single installation by New York based ar tist Tony Feher. The work will consist of various colored Depression glassw are attached to metal chains hanging from the ceiling that cast jewel-toned illuminations from a nearby window. Feher is an internationally acclaimed artist known for his abilities to transform banal objects into elegant arra ngements that resonate with viewers.

A survey of Tony Feher's work is currently on view at the de Cordova Sculpture Park and Museum in Lincoln\, MA. The traveling exhibition started at the Des Moines Art Center in May 2012\, and then traveled to th e Blaffer Art Museum at the Univeristy of Houston on October 2012\, and wil l end at the Bronx Museum of the Arts\, Bronx\, NY in October 2013. The 25 year survey is curated by Claudia Schmuckli and is accompanied by a 200+ pa ge color monograph.

DTEND:20130706 DTSTAMP:20140823T040118 DTSTART:20130608 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Grand Ma's Pussy\, Tony Feher UID:278029 END:VEVENT BEGIN:VEVENT DTEND:20130608T200000 DTSTAMP:20140823T040118 DTSTART:20130608T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Grand Ma's Pussy\, Tony Feher UID:278030 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"Intimate Science features artists who are engaged in non-disciplinary i nquiry\; they aren’t allied to the customs of any single field\, and theref ore have license to reach beyond conventions. This kind of practice hinges on up-close observation\, experiential learning\, and inventing new ways fo r the public to participate in the process."
-- Andrea Grover\, Curator\, Intimate Science

“In an interesting new development in the art world\, a generation of artists [is] now collecting data about t heir world using technological instruments but for cultural purposes. Share d tool-using leads to overlapping epistemologies and ontologies. These arti sts both make powerful art and help make science intimate\, sensual\, intui tive."
-- Roger Malina\, phys icist\, astronomer and executive editor of Leonardo Journal
Artists:
BCL (Tokyo)
Center for PostNatural History (Pittsburgh)
Markus Kayser (London)
Allison Kudla (Seattle)
Machine Project (Los Angeles)
Philip Ross (San Francisco)

Intimate Science is curated by Andrea Grover and organized by t he Miller Gallery at Carnegie Mellon University\, Pittsburgh.

A densely illustrated publication\, "New Art/Science Affinities" ( http://millergallery.cfa.cmu.edu/ nasabook )\, accompanies the exhibition. Co-authored by Andrea Grover\, Rég ine Debatty\, Claire Evans and Pablo Garcia\, and designed by Thumb\, the b ook features more than 60 international artists and collaboratives.

DTEND:20130818 DTSTAMP:20140823T040118 DTSTART:20130530 GEO:34.168199;-118.185874 LOCATION:Alyce de Roulet Williamson Gallery\,Art Center College of Design 1 700 Lida St.\nPasadena\, CA 91103 SEQUENCE:0 SUMMARY:Intimate Science\, Markus Kayser\, Allison Kudla\, Philip Ross\, Ma chine Project\, BCL UID:275573 END:VEVENT BEGIN:VEVENT DTEND:20130530T210000 DTSTAMP:20140823T040118 DTSTART:20130530T190000 GEO:34.168199;-118.185874 LOCATION:Alyce de Roulet Williamson Gallery\,Art Center College of Design 1 700 Lida St.\nPasadena\, CA 91103 SEQUENCE:0 SUMMARY:Intimate Science\, BCL\, Markus Kayser\, Allison Kudla\, Machine Pr oject\, Philip Ross UID:275574 END:VEVENT BEGIN:VEVENT DESCRIPTION:

My aim is to be unde rstood by everyone. I reject the ‘depth’ that people demand nowadays\, into which you can never descend without a veritable diving bell crammed with c abbalistic bullshit and intellectual metaphysics. This expressionist anarch y has got to stop…a day will come when the artist will no longer be this bo hemian\, puffed up anarchist\, but a healthy man working in clarity with co llectivist society.

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 -George Grosz

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\n< p dir="ltr">A&\;R is pleased to present Pha smid\, a solo exhibition debuting five salvaged wood relief s culptures by Ron van der Ende

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Phasmid is the scien tific classification for stick insects. The title suggests a parallel betwe en the insect’s evolved camouflage and the artist’s wood skin constructions \, which serve as trompe l'oeil surrogates for their real world counterpart s. The phasmid’s ability to hide in plain sight is analogous to Van der End e’s interest in commonplace themes\, in particular objects and forms render ed invisible by their ubiquitous nature. 

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Van der Ende evades the pursuit of the new in favor of the known.  His work intensifies natural and man-made forms in a manner tha t echoes Otto Dix’s assertion that “the object comes first\, and it is the object that orients form.”  Each of the exhibition’s bas-relief sculptures investigates the formal possibilities of spatial representation in two dime nsions while drawing aesthetic cues from the histories of typography\, arch itecture and design. The exhibit's diverse themes span the Industrial Age a nd mineral systems and are united by an equal sense of prospect and dread.< /span> 

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Fm3m / Salt\, depicts the growth structure of halite\, more commonly referred to as rock salt.   The imposing scale transcends the banality of the substance and is magnifie d to Biblical proportions. The looming raw cubic composition alternately su ggests architecture and interplanetary debris\, conjuring both science and science fiction. Whereas Fm3m / Salt is reminiscent of celestial o rigins Cyclotron directly refers to the solar system by illustrating data t hat estimates the amount of space debris generated per nation in a structur e akin to a circle graph. The shape of this ominous floating ring is partia lly derived from a wooden split-pulley wheel\, an innovation that helped pr opel the Industrial revolution with its utilization in factories powered by wind\, water and later steam and combustion engines.  

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Type Stack (BENWAY) is Van der Ende’s fir st foray into typography and is arguably the most cryptic work in the exhib it. This monochrome haphazard pile of letters resembles cast offs in a sign shop rendered obsolete until assigned order and context.Type Stack (BENWAY ) alludes to Dr. Benway\, an arch villain in several William S. Burroughs n ovels. Compositionally the work is in stark contrast to Cold Storage\, a st ack of steel beams that exude ordered sobriety and an air of quixotic capit alism\, and yet both offer latent passage info a future unknown. 

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Ron van der Ende was bor n in Delft\, The Netherlands in 1965. He graduated from Academie van Beelde nde Kunsten\, Rotterdam\, in 1988 and was an active member of artist collec tive Expo HenK from 1988 to 1997. His work has been exhibited throughout Eu rope and the U.S. and can be found in notable public and private collection s including Bouwfonds Kunstcollectie\, Caldic Kunstcollectie\, and Historis ch Museum Rotterdam. Recent solo exhibitions include Edge of Space\, Galeri e Ron Mandos\, Amsterdam\, NL\, and Perishables\, The Armory Show\, New Yor k\, NY. Van der Ende is based in Rotterdam.
DTEND:20130727 DTSTAMP:20140823T040118 DTSTART:20130608 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Phasmid\, Ron van der Ende UID:278032 END:VEVENT BEGIN:VEVENT DTEND:20130608T200000 DTSTAMP:20140823T040118 DTSTART:20130608T180000 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Phasmid\, Ron van der Ende UID:278033 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Anat Ebgi is pleased to present Wassup Painters\, a grou p show organized by Pavan Segal featuring work by Kerstin Brätsch\, Paul Co wan\, Cynthia Daignault\, Liam Everett\, Henrik Olai Kaarstein\, and Molly Zuckerman-Hartung. The show will open on June 8\, and will be on view until  July 20. A reception will be held at the gallery on Saturday\, June 8 from 6-9pm\, at 2660 La Cienega Blvd in Culver City.
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\nWassup Painters brings together contemporary artists who approach painting thr ough the use of nontraditional materials and innovative processes as a way of exploring new conceptual ground. Painting as a medium has a long and ric h history and recent trends have focused on exploring and reinterpreting wh at has come before. In some contrast to this\, Wassup Painters highl ights artistic practices that push the possibilities of the medium into une xpected realms\, blurring the boundaries between painting and other forms o f object making.\n
 
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The exhibition title references Larry Clar k’s 2005 film Wassup Rockers\, which features a group of Latino teen agers searching for identity in the racially diverse and ever changing Sout h Central neighborhoods of Los Angeles. In the film\, the teens are often m islabeled as “rockers” due to their long hair and black clothes even though they primarily self-identify as “skaters\,” making them feel misunderstood in their own community. While many of the works in Wassup Painters have le anings toward painting\, they could easily be perceived or labeled as other forms entirely\, such as glasswork\, photography\, signage\, deconstructed material\, collage\, sculpture\, and fabric art. This show offers the oppo rtunity to view works that have direct points of intersection with these fo rms of object making as a way of contemplating what comprises and defines p ainting\, while asking what role context\, intention\, and expectation play in this process. 
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Kerstin Brätsch was born in Hambu rg\, Germany. She received Her MFA in 2007 from Columbia University.  Solo exhibitions include Gavin Brown\, New York and Balice Hertling\, Paris. Sel ect exhibitions include Kölnischer Kunstverein\, Cologne (with DAS INSTITUT )\, Kunsthalle Zurich (with DAS INSTITUT)\, The 54th Venice Biennial (with DAS INSTITUT)\, MoMA/ PS1 (with DAS INSTITUT)\, Sculpture Center\, New Muse um\, New York\, Museum of Contemporary Art\, Chicago\, and Museum of Contem porary Art\, Los Angeles (with DAS INSTITUT). She lives and works in New Yo rk.
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Paul Cowan was born in Kansas City\, MI. He rece ived His MFA in 2012 from University of Illinois at Chicago. In 2012\, Cowa n mounted a solo exhibition at the Museum of Contemporary Art\, Chicago. So lo exhibitions include Clifton Benevento\, New York\, and Shane Campbell\, Chicago. Recently\, his work has been included in group exhibitions at Kavi Gupta\, Berlin\, James Cohan Gallery\, New York\, and Thomas Duncan Galler y\, LA. His work has been reviewed in Modern Painters\, Kaleidoscope\, Mous se Magazine\, and Art Forum. He currently lives and works in Milwaukee.
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Cynthia Daignault was born in Baltimore\, Maryland. She attended Stanford University\, and was a MacDowell Colony Fellow in 2010. She was invited for a solo exhibition at White Columns in 2011\, which rece ived a review in the October 2011 issue of Artforum. Solo shows include Lis a Cooley\, New York and group shows at American Contemporary\, New York\, a nd Bureau\, New York. Daignault is a recipient of the 2011 Rema Hort Mann F oundation Grant. She currently lives and works in New York. 
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Liam Everett was born in Rochester\, NY. He has had solo shows at Altman Siegel\, and Romer Young Gallery in San Francisco\, Paul Kasmin Gall ery\, New York\, and White Columns\, New York. He has been included in grou p shows at 303 Gallery\, New York\, Canada\, New York\, Josh Lilley Gallery \, London\, and Wattis Institute\, San Francisco\, CA. In 2012\, he receive d the Fellowship Award for the Artist in Residence program at Headlands Cen ter For the Arts. He currenty lives and works in San Francisco\, CA.
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Henrik Olai Kaarstein was born in Oslo\, Norway. He curren tly lives and works in Frankfurt\, Germany.  Solo exhibitions include T293\ , Rome\, FIAC Paris\, Holodeck\, Oslo\, D’Amelio Gallery\, New York\, and L eonhardi Kulturprojekte\, Frankfurt. His work has been written about in New York times\, Flash Art (Italy)\, and Artforum. He currently studies at Sta atliche Hochschule fur Bildende Kunste Staedelschule\, in Frankfurt Germany .
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Molly Zuckerman-Hartung was born in Olympia\, WA. In 2012\, she presented her first solo museum show the Museum of Contempora ry Art\, Chicago. Recently\, she was invited to participate in the group sh ow\, Painter Painter at the Walker Art Center. Molly is represented by Corbett vs Dempsey\, Chicago. She teaches painting and drawing at the sc hool of the art institute\, and Northwestern University\, and is co-founder of Julius Cesar\,an artist run exhibition space in Chicago. She cur rently lives and works in Chicago.
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Pavan Segal\, M.D . is a child and adolescent psychiatrist that specializes in working with m entally ill teenagers and is a professor of clinical psychiatry based in Ch icago. He has broad interests in contemporary art and is an independent cur ator\, collector\, and has collaborated with a number of artists on various projects. His interest in art focuses primarily on the role that experienc e\, context\, ideas\, and personal psychology play in the production and in terpretation of art. He most recently organized a group exhibition in the S ummer of 2012 involving fourteen artists working across all mediums at D'Am elio Gallery\, New York. This exhibition entitled\, "Idea is the Object" fo cused on the early philosophical writings of John Locke and examined the ro le that experience plays in the conception of ideas and how this functions to facilitate the production of art objects and the perception of such work s. This exhibition received a number of very favorable reviews including a large review in the New York Times by Roberta Smith. The next show that he is working on is entitled\, "The Atlantic Effect" and will aim to compare a nd contrast the role and influence that regional histories play in artistic practices within the United States and Western Europe. This exhibition is slated for 2014 and will take place in Berlin.
DTEND:20130720 DTSTAMP:20140823T040118 DTSTART:20130608 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Wassup Painters\, Kerstin Brätsch\, Paul Cowan\, Cynthia Daignault\ , Liam Everett\, Henrik Olai Kaarstein\, Molly Zuckerman-Hartung UID:276804 END:VEVENT BEGIN:VEVENT DTEND:20130608T210000 DTSTAMP:20140823T040118 DTSTART:20130608T180000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Wassup Painters\, Kerstin Brätsch\, Paul Cowan\, Cynthia Daignault\ , Liam Everett\, Henrik Olai Kaarstein\, Molly Zuckerman-Hartung UID:276805 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Angels Gate Cultural Center presents our exhibition year entitled \; Into the Wilderness: The Journey Within. Over the course of the ne xt year\, artists and curators will engage the term "wilderness" from multi ple perspectives ranging from ecological to introspective. The exhibitions consider how our ideas of wilderness continue to define our contemporary li fe and contemplate how we can find new opportunities to re/define the trans ition between physical and imaginary geographies.

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Although\, on first im pression\, "wilderness" may call to mind places of intense experience in na ture far from civilization\, it reveals itself to be much more than a locat ion. Traditionally associated with a land of uncultivated\, abandoned and i nhospitable conditions or inhabited only by wild animals\,1  \;during the eighteenth and nineteenth centuries its meaning expanded subje ctively to include more Romantic and transcendental notions like "the refle ction of our own unexamined longings and desires" and "the best antidote to our human selves\," while mysteriously remaining the site of "something pr ofoundly Other."2 \;

Whether places considered wilderness are ultimately to be regar ded as wastelands or sacred spaces\, in either case it is not the places th emselves that define the nature of the wilderness experience. "Wilderness\, " regardless of where it is situated or whether it is described as frighten ing or divine\, is a cultural construct that is typically placed in opposit ion to "civilization\," located apart from the human world as something pur e and essentially natural\, to be preserved and protected both from the out rages of global industrial exploitation as well as the small defilements of daily life. \;

We d isagree. We consider that creating even the most high-minded dualism betwee n humans and nature sets up a dynamic that creates conflict and does not le ad to effective stewardship of the environment\, either locally or on a glo bal scale. We also believe that rather than being defined either as a physi cal or an imaginary location\, "wilderness" is more a state of mind that de fies location\, either geographical or imaginary-one in which social struct ure relaxes\, logic slips away and time and space collapse. This open state of mind\, or "wonder\," can be experienced in natural environments that in spire fear\, disorientation\, foreboding or other qualities of "sublime" la ndscape appreciated by the likes of Edmund Burke3-and it can als o unexpectedly arise in the midst of degraded urban grittiness or in an une xplored corner of a superficially unremarkable backyard. \;

Artists in our group discover natur al wonder in many places-from Antarctic icebergs to carcasses of dead birds . And just as we respect "wilderness" in all of its manifestations\, we bel ieve that biodiversity and sustainability can only be maintained if we huma ns give up trying to isolate "unspoiled" nature and instead seek a complete relationship with the natural world that includes responsibility and respe ct for the global interface of ecosystems\, be they planetary or microscopi c\, that we unavoidably impact. \;

Wilderness Mind: Dissolving Duality includes the work of fou rteen artists from the Southern California Women's Caucus for Art's Eco-Art Collective. As a group we embrace collaboration\; we have worked together to study and work as eco-artists since 2005. This proposed exhibition repre sents work that ranges from photography to non-representational painting\, performance\, and installation\; it spans a continuum of references to wate r from suburban irrigation systems to the arctic ice cap\; to wildlife\, in cluding Barr owls\, sea otters\, and golden trout from the Sierras\; and to locations from San Pedro Harbor to Mozambique. Within the frame of wildern ess\, the group's work articulates themes of degradation and emergence\, na tural cycles\, mystery\, concern for the environment\, and connected onenes s. We hope that the artistic diversity and interrelatedness of our work for this exhibition will give visitors an experience of our collaborative appr oach as an alternative to more traditional strategies of agency through dom ination\, and to the possibility for everyone to experience "wilderness" in any number of settings\, not just in uninhabited nature. Through the visua l messages communicated in our work as well as through workshops and progra ms offered to the community in conjunction with the exhibition\, our ultima te goal is to inspire visitors to participate in effective stewardship of t he environment. \;

< small>1 \;New Oxford American Dictionary\, Oxford University Press\, third edition. \;
2 \;Cronon\, William\, " The Trouble with Wilderness\; or\, Getting Back to the Wrong Nature\," Unco mmon Ground: Rethinking the Human Place in Nature\, New York: W.W. Norton & amp\; Co.\, 1995\, 69-90. \;
3 \;Burke\, Edmund\, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beau tiful\, 1857. \;


Deborah Thomas is an artist\, professor and independent curator wh o lives in Los Angeles\; she has also lived and worked as an artist in Gene va\, Switzerland and New York. With an undergraduate degree from the Univer sity of Michigan and an MA and ABD from the University of Pennsylvania\, Th omas currently teaches art history and contemporary art and theory at Pasad ena City College\, Glendale College and the Los Angeles Academy of Figurati ve Art. She is a longtime member of the Eco-Art Collective sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA) and one of the chairs of the Women's Caucus for Art (WCA) national Eco-art Caucus\; she also helped to organize "Elements\," an eco-art conference produced by the Pacific Region WCA chapters last year in Berkeley. Thomas' recent artw ork includes a series of conceptual installations and mixed media pieces us ing photographic images and found text\; her work on environmental themes t ypically explores place and the environment metaphorically and builds from a personal point of view using domestic objects. She has also developed and curated several recent exhibitions: Day of the Dead Planet\, Bringing the Past to Light: New Art from Old Images\, Intimate Geography: \;< br />
The Eco-Art Collective is a Los Angeles-based group of fourteen women artists that uses art to explore the many connections between creative and environmental practices through exhi bitions\, educational programs and public actions. The group was first orga nized in 2005 by artist/eco-activist Linda Lundell and is sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA)\, a natio nal organization dedicated to creating community through art\, education an d social activism. In April 2007\, they mounted their inaugural exhibition at Barnsdall Art Park in Los Angeles. Members subsequently showed together at the 2010 Blue Planet exhibition juried by Kim Abeles at SOMArts in San F rancisco and at the Day of the Dead Planet exhibition curated by Deborah Th omas at Avenue 50 Studio in Los Angeles. Individual members have exhibited their environmental work in Chicago\, Los Angeles\, New York\, San Francisc o and throughout the rest of the United as well as Asia and Europe. The col lective also engages the community through lectures\, installations and eve nts. Expedition artists Danielle Eubank and J. J. L'Heureux have lectured a t zoos and natural history museums across the country. San Pedro-based arti sts Annemarie Rawlinson and Hiroko Momii often intermix their meditative an d activist practices.

DTEND:20130817 DTSTAMP:20140823T040118 DTSTART:20120520 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Wilderness Mind: Dissolving Duality\, Carolyn Applegate\, Nicole An tebi\, Dori Atlantis\, Ulla Barr\, Marie Cenkner\, Danielle Eubank\, Ann Is olde\, Nancy Lissaman\, Meg Madison\, Hiroko Momii\, MaryLinda Moss\, Sandr a Mueller\, Annemarie Rawlinson\, Deborah Thomas\, France White\, Karen Fri mkess Wolff\, JEN ZEN (aka Jen Grey\, J.J.L'Heureux UID:218364 END:VEVENT BEGIN:VEVENT DTEND:20120520T170000 DTSTAMP:20140823T040118 DTSTART:20120520T120000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Wilderness Mind: Dissolving Duality\, Nicole Antebi\, Carolyn Apple gate\, Dori Atlantis\, Ulla Barr\, Marie Cenkner\, Danielle Eubank\, Karen Frimkess Wolff\, JEN ZEN (aka Jen Grey\, Ann Isolde\, J.J.L'Heureux\, Nancy Lissaman\, Meg Madison\, Hiroko Momii\, MaryLinda Moss\, Sandra Mueller\, Annemarie Rawlinson\, Deborah Thomas\, France White UID:218365 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The 2013 -2015 exhibition year at Angels Gate Cultural Cente r marks the beginning of a larger concept that explores our local community ’s stories and personal narratives in the galleries. We hope to generate di alogue about how\, as a community\, we can share and communicate regardless of differing opinions and ideologies. The gallery will be turned into an e xperimental space where art and art-making become part of an ongoing conver sation about the community. Through partnerships with local non-profits\, a rtists\, storytellers and the community at large\, the galleries hope to ca pture a slice of Americana that is unique within our nation and particular to Los Angeles. Artist's work will rotate on an ongoing basis. 


DTEND:20150619 DTSTAMP:20140823T040118 DTSTART:20130512 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Gettin' Off the Ground: Contemporary Stories from an American Commu nity UID:276487 END:VEVENT BEGIN:VEVENT DTEND:20130512T200000 DTSTAMP:20140823T040118 DTSTART:20130512T180000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Gettin' Off the Ground: Contemporary Stories from an American Commu nity UID:276488 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Over the next two years artwork will be selected on an ongoi ng basis that employ storytelling techniques to encourage dialogue on issue s relevant to the South Bay/Harbor community and/or shared history. The art works encourage us to think about our lives and how we communicate our stor y with each other. \;

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Miyo Hernandez

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Miyo Hernandez's narrative photogra phy is based in and around Los Angeles. The stories are presented in the fo rm of images and text\, which offer a momentary look into events that refle ct conflicts and experiences within her community. \;

BIOGRA PHY \;

Miyo Hernandez is a Los Angeles based artist whos e narrative work reflects life in the San Gabriel Valley and East Los Angel es. Other projects based in the Midwest and southern United States\, trace her own family history\, including her experiences as a biracial child and also the local histories of her birthplace in Indiana. Her work has been ex hibited in the United States and Europe. She received her BFA from the Cali fornia College of the Arts in Oakland\, CA in 1996\, and received her MFA i n photography from the California Institute of the Arts in 2000. She curren tly works as an adjunct professor in photography at the College of the Cany ons in Santa Clarita and Pasadena City College. In addition to photography\ , she also works in the medium of printmaking\, producing linocut\, woodcut \, and limited edition prints in collaboration with Self Help Graphics.&nbs p\;G o to artist's website \;

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Ann Le

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The series\, Thinking of You\, consists of hundreds of old family photos that the artist merged to create a visual "mash-up". The images were inspired by a recorded conversation bet ween the artist's mother and older sister when she was a little girl\; the conversation is about the family's emigration from Vietnam to Malaysia by b oat. As each image is lost within the collective whole\, a new image emerge s that is both specific to the artist and open to our own interpretation.&n bsp\;

BIOGRAPHY \;

Ann Le is a Southern C alifornia native and a recent MFA graduate at California State University L ong Beach with an emphasis in Photography and Mixed Media. She is intereste d in voyeurism and finds it pleasing to look in while others look away. Fas cinated by the ever-engaging memory in the midst of the present. She correl ates the artificial with her remembrances of family drama\, alongside with her ethnicity and culture. Sentiment is vital in her works as she pulls fro m her personal experiences to construct imposing art. \;Go to artist's website< /em>

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Karena Massengi ll

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Karena Massengill's work begins in her heart as emotions\, and as she start to build the concept becomes clearer. For many years she was involved with creating visual sounds. The idea of someone's e yes hearing\, and ears seeing\, fascinated her and is evidenced within her early work. \;

More recently socio political ideas manifeste d within communities and families have captivated her interest. Presently s he is also exploring these ideas within digital media as well as more tradi tional materials for sculpture\, drawing\, and painting. \;

She created the installation "Looking In\, Seeing Out" just after the 1992 Los Angeles riots. Within her neighborhood\, she saw burning buildings and angry desperate people. \;

The idea of the work evolved as s he began casting old and young people of all sorts of backgrounds and ethni cities. It intrigued her to see how people experienced the installation\, l argely dependent upon their own life perspective. Some viewed them as arms that were reaching out in desperation\, in need of help. Others saw them as wanting to grab and or take advantage of the viewer. \;

She has always wanted people to think and feel something when they experience her work and she is pleased with the timelessness of this artwork\, even th ough it was made over 20 years ago! \;

BIOGRAPHY&nbs p\;

Karena Massengill is an artist working with socio politi cal ideas expressed through the use of multi media including traditional ma terials used for casting and fabrication\, digital imaging\, drawing\, and painting. Massengill has an MFA in Sculpture from California State Universi ty at Fullerton\, BFA in Jewelry and MetalSmithing from Tyler School of Fin e Art\, Temple University in Philadelphia\, and a Bachelor of Education in Visual and Industrial Technology from the University of Toronto in Canada. She is an adjunct professor teaching Photoshop at Harbor College and is Dep artment Head of Digital and Visual Arts at Cabrillo High School in Long Bea ch. \;Go to artist's website \;

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Dusty Tailor

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Dusty Tailor pulls inspiration from h is surroundings and interactions with animals and nature. Being raised in a family of immigrant farmers\, plants and produce goods find a place in his work as symbolic imagery of his upbringing and heritage. The work symboliz es the travels and exploration of his family's migration from central Mexic o to the Central Coast of California\, and personal exploration and interac tion with the environment around him. In this context\, the Humpback Whale\ , anatomical drawings of the fruit and flower from the Mission cactus are a direct representation of his migration\, exploration and heritage . \;

BIOGRAPHY \;

Dusty Tailor is a p rintmaker currently attending the School of Art-California State University \, Long Beach with a specific interest in lithography\, silkscreen\, and re lief printing. He finds a form of mysticism in printmaking\, nostalgia\, an d a world of perfect resonance from the moment of prepping to printing.&nbs p\;

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Xiaowen Zhu

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Terminal Island reflects a visual and psychological journey ins ide a recycling company\, where the world of materials ends and restarts. T hrough nuanced manipulation of documentary footage\, the artist is interest ed in presenting an alternative perception of time and space in a physicall y specific and yet philosophically ambiguous environment. \;

BIOGRAPHY \;

Xiaowen Zhu is a media art ist\, scholar and curator. Described as a visual poet\, social critic\, and aesthetic researcher. She uses video\, performance\, installation\, and we b as platforms to communicate the complicated experience of being an intern ational person and to wrestle with the notion of a disembodied identity. He r questions are often raised from her observation and reflection as a criti cal thinker and an active communicator. \;

Currently\, Xiaow en Zhu resides in San Pedro\, the port of Los Angeles\, for a yearlong arti st fellowship program. She received her MFA in Art Video from Syracuse Univ ersity\, USA and a BA in Film\, TV Production &\; Media Art from Tongji University\, China. During her undergraduate study\, she attended an exchan ge program in Academy of Art and Design Offenbach in Germany. \;
< br />Her work has been shown nationally and internationally at institutions such as: ZKM | Center for Art and Media (Karlsruhe\, Germany)\, V2 Institu te for the Unstable Media (Rotterdam\, the Netherlands)\, ISEA2011 (Istanbu l\, Turkey)\, Dumbo Arts Center (New York\, USA)\, Videonale (Berlin\, Germ any)\, Museum of Contemporary Photography (Chicago\, USA)\, Strozzina Art S pace (Florence\,Italy)\, Sainsbury Center for Visual Arts (Norwich\, UK)\, DOK Munich (Munich\, Germany)\, Everson Museum of Art (Syracuse\, USA)\, To ronto Urban Film Festival (Toronto\, Canada)\, Shanghai eArts Festival(Shan ghai\, China). \;Go to artist's website \;

DTEND:20131018 DTSTAMP:20140823T040118 DTSTART:20130512 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Featured roundtable to Out of the Blue part I\, Miyo Hernandez\, An n Le\, Karena Massengill\, Dusty Tailor\, Xiaowen Zhu UID:276576 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The land that Angels Gate Cultural Center sits up on has been shared by many people. Currently\, nearly fifty Studio Artists occupy this former military site and make artwork in their studio. The arti sts all cherish the tranquility of the environment that allows them to be c reative. All Studio Artist were invited to submit work that was a reflectio n of their musings\, thoughts\, ideas\, and struggles and\, ultimately\, ar ticulation their joy over what is ALIVE. \;

DTEND:20130802 DTSTAMP:20140823T040118 DTSTART:20130512 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:What's Alive in You?\, Da Aie Park\, Frank Minuto\, Vanessa Madrid\ , Patrick Grugan\, Logan Fox\, Beth Elliott\, Lynn Doran\, Ann Cleaves\, El izabeth Casuga\, J. S. Brown\, Delora Bertsch\, Phoebe Barnum UID:292546 END:VEVENT END:VCALENDAR