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Cardwell Jimmerson Contemporary Art is pleased to announce i ts final exhibition\, \;
"BM: Retrospective-I."

DTEND:20140419 DTSTAMP:20140416T142001 DTSTART:20140419 GEO:34.030291;-118.3807789 LOCATION:Cardwell Jimmerson Contemporary Art\,8568 Washington Blvd. \nCulve r City\, CA SEQUENCE:0 SUMMARY:BM: Retrospective-I UID:332541 END:VEVENT BEGIN:VEVENT DTEND:20140419T200000 DTSTAMP:20140416T142001 DTSTART:20140419T180000 GEO:34.030291;-118.3807789 LOCATION:Cardwell Jimmerson Contemporary Art\,8568 Washington Blvd. \nCulve r City\, CA SEQUENCE:0 SUMMARY:BM: Retrospective-I UID:332542 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Rose Cabat (b. 1914 )\, one of the United States&rsquo\; most reclusive ceramists\, and certain ly one of the oldest of the few well-known mid-20th century ceramists still alive and producing today. \; Couturier Gallery is honored to present Rose Cabat &ndash\; 100 Years\, a solo show for t he distinguished ceramist celebrating her 100th birthday. \; The show will include her famous &ldquo\;feelies&rdquo\; &ndash\; seductiv e\, wheel-thrown porcelain closed-forms with her satin matte jewel-colored glazes dating from the 1960s to the present. \; The opening rec eption is Saturday\, May 17 from 6-8pm.

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 \;  \; &n bsp\;  \;  \;  \;  \;The list of renowned 20th c entury American ceramists is long and impressive\, with the likes of Gertru d and Otto Natzler\, Peter Voulkos\, Vivika &\; Otto Heino and Paul Sold ner to name but a few. \; All have in common a link with schools and ar t centers where they either taught\, studied or did both. \; Rose Cabat \, a New York City native\, did neither.  \;Her husband\, Erni Cabat\, an aspiring artist\, in the 1930s brought home a lump of clay which Rose pr omptly began to play with resulting in work that encouraged Erni to enroll her at the Greenwich Settlement House in the Village in New York City where Rose threw simple utilitarian forms. \; It wasn&rsquo\;t until the lat e 1950s\, with the help of Erni\, that she developed a glaze they called th e &ldquo\;feelie glaze&rdquo\; which would become part of her signature wor k. \; The glaze\, a variety of jewel-colored greens\, turquoises\, coba lt blues\, onion-skin browns\, whites\, lavenders has a satin matte sheen t hat texturally feels like silk\, and applied to the closed-forms ranging fr om chicken egg size to larger spherical and ovoid porcelain forms called &l dquo\;feelies.&rdquo\;

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 \;  \;  \;  \;  \; &nbs p\;  \;Rose Cabat has spent the better part of the past fifty-four year s  \;perfecting the forms of the &rdquo\;feelies&rdquo\; imbuing them w ith a Zen perfection. \; Like Gertrud Natzler\, who when asked why she continued throwing bowls replied she was after perfection\, Rose Cabat set her sights on the same ideal. \;  \;It is one reason why Rose has a lways preferred to work alone\, even today while confined to a wheel chair limiting her mobility and ability to raise herself up to make the larger wo rks she was able to throw when she had use of her legs. \; She prefers the solitude allowing her precise focus eschewing the slightest interferenc e of another&rsquo\;s presence. \; \; It is this consistency in her work that has generated a burgeoning interest on the part of curators and collectors alike.

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 \;  \;  \;  \;  \; & nbsp\;  \;Rose Cabat has taken part in group exhibitions in California (at Los Angeles County Museum of Art (Craftsmen U.S.A.\, 1966)\;&n bsp\; ArtGallery\, ScrippsCollege\, Claremont (1965)\; \; Museum West\, San Francisco (1966)\; \; The Egg and the Eye Gallery\, Los Angeles (1 967)\; \; California State College\, Long Beach (1972)\; \; and Ban natyne Gallery\, Santa Monica (1989).  \;&ldquo\;Rose Cabat &ndash\; 10 0 Years&rdquo\; pays homage to the work of \; this exceptional centenar ian and will include work illustrating her wide vocabulary of forms and col ors produced from the early 1960s through this year. \;

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 \;  \;  \;  \;  \;  \;In March of 2014 The Tuscon Museum of Art launched an extensive retrospective exhibition entitled\, Rose Cabat at 100. \; The work of Rose Cabat has been exhibited throughout the Un ited States\, Canada\, Iran\, Australia\, France\, Germany\, Switzerland an d Belgium. \; Her work can be found in the museum collections of the Ev erson Museum of Art\, Syracuse\, NY. \; Metropolitan Museum of Art\, Ne w York\, NY\;  \;Museum of Arts &\; Design\, New York\, NY\;  \; Philadelphia Museum of Art\, Philadelphia\, PA\;  \;PhoenixArt Museum\, Phoenix\, AZ\;  \;Renwick Gallery of the Smithsonian Institution\, Was hingtonDC\;  \;TucsonMuseum of Art\, Tucson\, AZ.

DTEND:20140705 DTSTAMP:20140416T142001 DTSTART:20140517 GEO:34.0754701;-118.3438827 LOCATION:Couturier Gallery\,166 N. La Brea Ave. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Rose Cabat - 100 Years\, ROSE CABAT UID:332385 END:VEVENT BEGIN:VEVENT DTEND:20140517T200000 DTSTAMP:20140416T142001 DTSTART:20140517T180000 GEO:34.0754701;-118.3438827 LOCATION:Couturier Gallery\,166 N. La Brea Ave. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Rose Cabat - 100 Years\, ROSE CABAT UID:332386 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Manfred  \;Mü\;ller\n

Federal Avenue

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April 19 through Ma y 31\, 2014

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ROSEGALLERY is pleased to announce Federal Avenue\, an exhibition of new drawings and wor ks on paper by Manfred Mü\;ller\, A reception for the artist and book s igning will be held Saturday\, April 19\, 2014 from six to eight pm.

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&ldquo\;You have to reflect because it balances you.. . You need to exercise your fingers\, to refine the technique&rdquo\;.

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Throughout his career in Germany and Los Angeles\, Mü\;ller has made large-scale site specific\, sculptures and installat ions. Utilizing diverse materials such as steel\, wood\, paper\, natural an d man-made elements or recycled industrial machine parts. Using architectur al space\, the industrial landscape and simple geometric form to explore th e relationship between form\, color\, raw material\, and the viewer&rsquo\; s relationship to object\, space and meaning\, these works bring together d isparate elements uniting in eloquent combinations.

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Working in a va riety of techniques and employing an equally wide range of materials\, the drawings\, collages and works on paper that Mü\;ller creates\, explore continually evolving approaches to making art. These paper pieces are occas ionally studies towards larger projects\, but more often serve as a respons e to what is happening in the studio and are conceived and executed as inde pendent works in their own right. Primarily flat but bearing incised lines or raised edges\, so common in his work\, the drawings are almost three dim ensional\, allowing light to play on the surface. Mü\;ller incorporates subtly nuanced changes in surface\, texture\, focusing attention on surfac e detail and the point of contact between\, drawn line\, fields of color an d surface\, where edge tension plays a crucial part. Mü\;ller transform s the humblest of materials into objects of profound poetic beauty. The wor ks on paper continue to serve Mü\;ller as a rich depository of ideas an d ongoing visual diary.

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Manfred Mü\;ller was bo rn 1950 in Dü\;sseldorf\, Germany. From 1967 to 1970 he apprenticed as a technical draftsman\, receiving his state license as an engineering draft sman. From 1971 to 1975 he studied visual communication at the Fachlochschu le Dü\;sseldorf and from 1976 to 1981 he attended the Kunstakademie in Dü\;sseldorf\, Germany &ndash\; studying under Erwin Heerich (1922-2004 ). After leaving the Kunstakademia in 1981 he was awarded a Cité\; de s Artes Scholarship\, Paris\, France and received important grants from the city of Dü\;sseldorf in 1983\, and the German Industry Endowment of th e Arts in 1985. \;

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In 1989 Mü\;ller relocated to Los Angele s and continues to maintain studios in California and Germany.

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Rece nt selected solo and group exhibitions include: 2014\, Objects are Clos er Than They Appear\, Los Angeles Municipal Art Gallery\, Barnsdall Ar t Park\, Los Angeles\, CA\; 2011\, Framing Abstraction: Mark\, Symbol\, Signifier\, Los Angeles Municipal Art Gallery\, Barnsdall Art Park\, Los Angeles\, CA\; 2010\,Heidi Cho Gallery\, New York\, NY\; Heliotropo \, Galerie Lopez Quiroga\, Mexico

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City\, Mexico\; 2008\, Hidden Cache No. 1\, ROSEGALLERY\, Sant a Monica\, CA\; 2007\, Made in California: Contemporary California Art from the Frederick R. Weisman Art Foundation\, Frederick R\, Weisman Museum of Art\, Pepperdine University\, Malibu\, CA\; 2006\, CONTRATO: New Work b y Manfred Mü\;ller\, Mike Karstens Galerie\, Munster\, Germany\; 2 003\, Human Conditions: Demo: The Body Shop\, USC Fisher Museum of Art\, Los Angeles\, CA. 1999\, Palacio de Memoria\, Museo Univers itario del Chopo\, Mexico City\, Mexico.

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Public Artworks include: 2 002\, When a Person Plants a Tree&hellip\;\, public installation\, Civic Center

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and Library\, Agora Hills\, CA\; 2000\, Ringrotsiebzehn grad (ringredsevendegrees)\, Universtä\;t

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Mü\;nster\, commissioned by the city of Mü \;nster\, Germany\; 1998\, Twilight and Yearning\, installation be neath the Santa Monica Pier\, Santa Monica\, CA

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The exhibition will be accompanied by the recent 2014 publication: Objects are Closer Than They Appear\, with essays by Claudia Bohn-Spector and Howard Fox\, published by Marquand Books\, Seattle.

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Quote from in Manfred Mü\;ller: Things to Remembe r\, Claudia Bohn-Spector\, published in Objects are Closer Than Th ey Appear\, (Marquand Books\, Seattle\, p.42)

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Image: Manfred Mü\;ller\, Untitled\, 2009 courtesy of the artist and RO SEGALLERY\, Santa Monica.

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\n< /div> DTEND:20140531 DTSTAMP:20140416T142001 DTSTART:20140419 GEO:34.0276049;-118.4678444 LOCATION:ROSEGALLERY\,Bergamot Station Art Center 2525 Michigan Avenue G-5\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Manfred Müller: Federal Avenue [Drawings 1998-2014]\, Manfred Mülle r UID:332377 END:VEVENT BEGIN:VEVENT DTEND:20140419T200000 DTSTAMP:20140416T142001 DTSTART:20140419T180000 GEO:34.0276049;-118.4678444 LOCATION:ROSEGALLERY\,Bergamot Station Art Center 2525 Michigan Avenue G-5\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Manfred Müller: Federal Avenue [Drawings 1998-2014]\, Manfred Mülle r UID:332378 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"Modernity" signifies the transit ory\, the fugitive\, the contingent\, the half of art of which the other ha lf is the eternal and the immutable.

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Ch arles Baudelaire\, \;The Painter of Modern Life\, \;1859

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When Charles Baudela ire finally published \;The Painter of Modern Life \;in 18 63 modernity was still an idea in formation. Arising from the hotbed of Rom anticism\, modernity\, Baudelaire posited\, put the imagination at the serv ice of synchronous observation and social critique. With this insight \ ;The Painter of Modern Life \;became the seminal document of m odern aesthetic criticism.

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The artist Baudelaire an ointed as the painter of modern life was Constantin Guys. From a contempora ry perspective\, Guys is an unexpected choice. Baudelaire saw this artist a s a \;flâ\;neur\, a stroller walking the streets of Paris \, taking the fashionable women and prostitutes of the day as the subject o f his illustrational watercolors. Today\, it is solely in terms of its subj ect matter rather than its style that Guys&rsquo\; art appears modern.

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Likewise\, Dan Burkhart\, E&rsquo\;wao Kagoshima\, Juan ita McNeely and Jakub Julian Ziolkowsky may not look like modern painters\, but they are painters of modern life. \;Flâ\;neurs of th eir imagination\, depicting in Baudelaire&rsquo\;s terms\, the transitory\, the fugitive\, the contingent\; these artists conjure modernity by reverie not style\, and are modern not by design but by default.

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Dan Burkhart&rsquo\;s visionary painting is a major body of contempo rary work that is little known. Although he showed with Rosamund Felsen in Los Angeles in the early 1980s and received significant press and collector interest\, after moving to New York Burkhart&rsquo\;s independence and rig or confounded art world context. Yet his painting resides within the litera ry anti-transcendentalist context of American romantic and symbolist art th at arose from Edgar Allen Poe and received illumination by painters as dive rse as Washington Allston\, John Quidor and Albert Pinkham Ryder. Poe&rsquo \;s sensibility proved instrumental to Baudelaire and his contemporaries an d Dan Burkhart gives this radical tradition an ecstatic and original modern presence.

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Dan Burkhart was born in Fargo\, North D akota (1952) and lives and works in Moravia\, New York.

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Born in 1945 in Niigata\, Japan where his parents had moved to escape American bombing\, E&rsquo\;wao Kagoshima is one of a lost generation of Ja panese artists\, younger than those of the Gutai\, but significantly older than the generation represented by Takashi Murakami. \; \;Kagoshima &rsquo\;s art takes a unique position in the post-War arc of Japanese cultu re in assimilating Western influences\, responding to the sociopolitical fa llout from the Second World War and fabricating an exotic and ritualized vi sual culture drawing upon Oriental tradition and dé\;cor\, pop cultur e\, violence\, eroticism and kitsch.

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After moving to New York in 1976 Kagoshima&rsquo\;s art quickly gained atte ntion\, becoming a touchstone in a widely read series of Arts Magazine arti cles by Nicholas Moufarrege documenting the burgeoning East Village scene. In 1983 Kagoshima had a solo exhibition at The New Museum\, where he transf ormed the museum&rsquo\;s space into his studio\, working there throughout the course of his show. E&rsquo\;wao Kagoshima lives and works in Brooklyn\ , New York. \;

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Juanita McNeely&rsquo\;s hauntingly savage figurative painting is central to the first generation of feminist art. Her work is also almost entirely unknown outside a small cir cle of contemporaries (including Judith Bernstein\, Joan Semmel\, and Anita Steckel who were\, in the early 1970s\, the collective subject of a New Yo rk Magazine feature on wayward feminists). When the Mitchell Algus Gallery did an exhibition of her work 2006\, it was the first time McNeely&rsquo\;s paintings had been seen in New York in twenty-six years. Unfortunately\, f or a woman of her generation this cryptic exile makes sense. \; \;& nbsp\;Her paintings are passionate\, strange\, and beautiful. McNeely recog nizes that her work is &ldquo\;difficult to look at\, much less deal with. These subjects continue to be the focus of my &lsquo\;still lives&rsquo\;&n dash\;life\, death\, birth\, pain and women&rsquo\;s struggles&hellip\;my e xperiences.&rdquo\;

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Juanita McNeely w as born in St. Louis\, Missouri in 1936. In college she studied with Allen Kaprow\, who became a significant advocate of her independent voice. \; In the 1970s McNeely showed with several of SoHo&rsquo\;s early coop erative galleries. Juanita McNeely continues to live and work in New York.< /span>

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Jakub Julian Ziolkowski creates hallucinatory world s that are inhabited by strange and dynamic forms that recall the language of the outsider surrealists such as Henri Rousseau. Vibrant and perverse\, anthropomorphic and surreal\, Ziolkowski&rsquo\;s private language is the s ymbolic expression of a highly concerted imagination that also was shaped b y life in a very small town: Zamosc\, where the artist was born in 1980.

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Ziolkowski trained at the Jan Matejko A cademy of Fine Arts\, Faculty for Painting and Drawing\, Krakow. The Hauser and Wirth Gallery\, with whom he has had five exhibitions since 2006\, rep resent the artist. He was recently included in the Venice Biennale 55t h \;International Art Exhibition at the as part of \;The Encyclopedic Palace\, curated by Massimiliano Gioni. Jakub Julian Ziol kowski lives and works in Krakow. \;

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Mit chell Algus opened his gallery in New York in 1992. He gained recognition f or exhibiting little-known historical work aimed at a contemporary audience of artists and writers. The gallery opened with an exhibition of Harold St evenson&rsquo\;s New Adam\, a forty-foot long reclining portrait of Sal Min eo made in 1962 for &ldquo\;Six Painters and the Object&rdquo\;\, Lawrence Alloway&rsquo\;s pioneering Pop Art exhibition at the Guggenheim Museum. Ye t upon seeing the completed painting Alloway demurred\, saying that its inc lusion would distract viewers from the other artists in the show.

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Since opening\, the gallery has reintroduced work by Robert Mallary\, Lee Lozano\ , Judith Bernstein\, Boyd Rice\, Matha Wilson\, Jack Smith and Bill Bolling er\, among many others. Mitchell Algus in association with Algus Greenspon\ , has continued to include emerging work\, often in the context of group ex hibitions\, in an active exhibition schedule.

DTEND:20140524 DTSTAMP:20140416T142001 DTSTART:20140417 GEO:34.0452942;-118.2357181 LOCATION:The Box\,805 Traction Avenue \nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Painters of Modern Life\, Dan Burkhart\, E’wao Kagoshima\, Jakub Ju lian Ziolkowski\, Juanita McNeely UID:332184 END:VEVENT BEGIN:VEVENT DTEND:20140417T210000 DTSTAMP:20140416T142001 DTSTART:20140417T180000 GEO:34.0452942;-118.2357181 LOCATION:The Box\,805 Traction Avenue \nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Painters of Modern Life\, Dan Burkhart\, E’wao Kagoshima\, Juanita McNeely\, Jakub Julian Ziolkowski UID:332185 END:VEVENT BEGIN:VEVENT DESCRIPTION:

When the Ancients observed certain objects in the heavens which did not hold fixed positions like the stars around them\, but rather moved along my sterious orbits of their own\, they gave them the name of 'planetoi' or wan derers. Unlike our current conception of nine planets\, seven planets were known at this time. As it was understood that all actions of the heavens we re mirrored by occurences here on Earth\, all knowledge at the time was org anized in accordance with these 'wanderers' The humours\, or fluids\, which controlled human health and temperament\; the properties of all known meta ls\; the modes or scales which were used in the creation of music\; and the division of time into weeks of seven days.

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LaPorscha Wynne and Ossian W inningham are pleased to pay tribute to these seven Planets with the presen tation of seven performances\, each held on the sacred day of the Planet fo r which it was named. Our Series begins with three performances:

Monday\, April 14th : The Moon
Tuesday\, April 15th : Mars
Wednesday\, April 16th : Mercur y

The Series will be p resented at Human Resources Gallery in Chinatown\, Los Angeles with Perform ances beginning at 10 PM nightly.

Artist Bio: La Porscha Wynne

La Porscha is not an artist.
As a model or muse she transcends the visions with which she is provided and the desires of her employers to create a persoanl work of truth and beauty in an act of creative alchemy. Working from the disadv antaged position of an African American woman\, viewed as a tool by those w ho would prefer to create mere commercial images in alliance with prevailin g trends\, she manages to express her essence against all odds to elevate t he mundane to the sublime.
La Porscha sees everything as a base or a shell to reveal or extract a new en tity from. Every object that was once readymade or "pret a porter' with a l earned conceptual boundary is stripped to its bare element of utilitarian f unction. Like a prop of minimalist proportions it manifests into a sculptur al creation where we see it for its singularity set also in its new identit y as a part of a whole of an outfitted work of art. Utilizing the tradition of collage in a three dimensional context\, La Porscha transforms herself and her tools into a work of living\, dynamic sculpture.
Faced with a world which would distill her blac kness\, her sense of style\, and the ineffable aspects of her sense of self \; her every creative act must utilize an element of destruction in order t hat she may assert true self expression upon the ashes the ashes of that ex pression which is relentlessy both taken from and aggressively forced onto her.
She hopes that this sho w will inspire you to never accept the confines into which the so-called "a rt world" would force us\, the true creative youth.

Artist Bio: Ossian Winningham

I began my main musical project\, "Bl eak End at Bernie's"\, in an environment resembling the artists salons of t he aerly 20th century\, where the presentation of concepts and performative trappings held equal if not greater footing than the music itself. An inte rest in the occult and the ritual context of Renaissance Magic began to inf orm these performances\, until the point the point that I was presenting mi niature works of musical theatre under the names "Castle Freak" and "Diving God"\, creating the music with a revolving cast of musical collaborators a nd transforming myself into symbolic characters on stage.
After studying "The Key of Solomon" I began to create invocations to Planetary Daemons on stage with the project " Voiheuristick Necromorph" in collaboration with the artist Lux Ananda. As these shows became more elaborate I began to feel a mounting frustratio n with the ephemeral nature of presenting work of this calibre within the c ontext of a DIY Music Show.
" Seven Planets Seven Days" marks the first time that such work will be prese nted as performance art in the context of a gallery as opposed to a "music show"

With Artistic Co llaboration from Michael Shawn and Three Moons

DTEND:20140416 DTSTAMP:20140416T142001 DTSTART:20140414 GEO:34.0675686;-118.2356123 LOCATION:Human Resources\,410 Cottage Home St. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:7 Planets 7 Days Part 1. Moon Mars Mercury\, La Porscha Wynne UID:332183 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140503T150000 DTSTAMP:20140416T142001 DTSTART:20140503T120000 GEO:34.100466;-118.28998 LOCATION:La Luz de Jesus Gallery\,4633 Hollywood Blvd. \nLos Angeles\, CA 9 0027 SEQUENCE:0 SUMMARY:Live Taxidermy Demonstration UID:332180 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140517T210000 DTSTAMP:20140416T142001 DTSTART:20140517T200000 GEO:34.0626721;-118.3602615 LOCATION:Steve Turner Contemporary\,6026 Wilshire Blvd \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Performance and Music Video Premiere UID:332179 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Steve Turner Contemporary is pleased to present \;< strong>Drawings\, a solo exhibition by Los Angeles-based artist Yung Jake\, featuring \;a new series of compute r-generated drawings.

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Yung Jake was born on the Internet in 2011. He is best known for his rap videos that integrate the worlds of hip-hop\, techno logy\, social media and contemporary art. Datamosh< /a> (2011) parodied the trend in music video of datamoshing (a digital technique that distorts images) while playing to a contemporary digital ar t audience. In E.m-bed.de/d (2012)\, he co mmented on the pursuit of Internet fame. His work has been screened at Sund ance (2013) and he has performed in Los Angeles at the Hammer Museum and&nb sp\;Redcat (2013) and at MOCA (2014). He earned a BFA at CalArts in 2012.

DTEND:20140531 DTSTAMP:20140416T142001 DTSTART:20140503 GEO:34.0626721;-118.3602615 LOCATION:Steve Turner Contemporary\,6026 Wilshire Blvd \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Drawings\, Yung Jake UID:332177 END:VEVENT BEGIN:VEVENT DTEND:20140503T200000 DTSTAMP:20140416T142001 DTSTART:20140503T180000 GEO:34.0626721;-118.3602615 LOCATION:Steve Turner Contemporary\,6026 Wilshire Blvd \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Drawings\, Yung Jake UID:332178 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Steve Turner Contemporary is pleased to present El Sueñ\;o De La Razó\;n Produce Monstruos (The Sleep of Reason Produces Monsters)\, a solo exhibition by Medellí \;n-based artist Camilo Restrepo\, who creates drawings ba sed on his proximity to the epicenter of drug-related violence in Colombia.

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In this\, Restrepo&rsquo\;s second solo exhibition at Steve Turner\, th e artist will present works from two series: \; three large-scale drawi ngs from A Land Reform as well as a group of portraits from a new series\, Los Caprichos. In both bodies of work\, Restrepo creates images that are based on narco traffickers and the aliases they assume as r eported daily in Colombian newspapers. The aliases are often based on telev ision and comic book characters\; celebrities\; animals\; and commercial br ands. The childish nature of these assumed identities contrasts starkly to the traffickers&rsquo\; vicious\, violent behavior.

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A Land Reform consists of seventy individual sheets of paper that are torn from the ar tist&rsquo\;s drawing book and then crudely taped together. Filled with col laged newspaper clippings and Restrepo&rsquo\;s cartoon-like characters\, t he various scenarios are connected by a series of what appear to be red hos es&mdash\;or are they veins of blood? The hoses pass through the sheet onto the reverse side where there is another complicated system of hoses\, both sides alluding to the interconnected intricacy of the armed conflict in Co lombia.

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Taking his title from Goya&rsquo\;s monumental series of etching s filled with images of human folly\, vice and absurdity\, Restrepo&rsquo\; s Los Caprichos cover much the same territory in contemporary term s. &ldquo\;Salvador\,&rdquo\; a Dali-like character\, rides a horse whose h ead has been cut off while balancing an espresso cup in one hand&mdash\;is it filled with coffee\, or blood? &ldquo\;Cristobal\,&rdquo\; a cartoon Col umbus on bended knee\, holds his sword wrapped in a vein of blood in one ha nd while taking a cell phone selfie with his other hand. The tattered\, emb lematic sail of the Santa Maria\, entwined with an arterial-like ribbon\, i s beside him.

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Each of the portraits in Los Caprichos is surroun ded by a distressed white background\, one that Restrepo created by removin g the top skin of paper\, first by weakening it with his saliva\, and then\ , by scraping it away. He then applied tape to heal the wounded paper&mdash \;but the scars remain visible\, yielding a devastated surface consisting o f twelve sheets of paper barely held together\, much like Colombian society . But Restrepo&rsquo\;s images\, like Goya&rsquo\;s are not limited to the national environment that inspired them\, they carry the weight of universa l human madness.

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Camilo Restrepo (born 1973\, Medell&ia cute\;n\, Colombia)\, earned an MFA from CalArts (2013) and a masters degre e in aesthetics from the National University of Colombia (2008). He has had solo exhibitions at Steve Turner (2013)\; Untitled\, Miami Beach (2013)\; Galerí\;a Santa Fe\, Bogotá\; (2011)\; Casa Tres Patios\, Medel lí\;n (2010)\; Galerí\;a de la Oficina\, Medellí\;n (2010 ) and LA Galerí\;a\, Bogotá\; (2009). In 2010\, Restrepo was no minated for the Premio Luis Caballero\, the most important prize in Colombi a for artists over 35.

DTEND:20140531 DTSTAMP:20140416T142001 DTSTART:20140503 GEO:34.0626721;-118.3602615 LOCATION:Steve Turner Contemporary\,6026 Wilshire Blvd \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:El Sueño De La Razón Produce Monstruos (The Sleep of Reason Produce s Monsters)\, Camilo Restrepo UID:332174 END:VEVENT BEGIN:VEVENT DTEND:20140503T200000 DTSTAMP:20140416T142001 DTSTART:20140503T180000 GEO:34.0626721;-118.3602615 LOCATION:Steve Turner Contemporary\,6026 Wilshire Blvd \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:El Sueño De La Razón Produce Monstruos (The Sleep of Reason Produce s Monsters)\, Camilo Restrepo UID:332175 END:VEVENT BEGIN:VEVENT DESCRIPTION:

La Luz De Jesus Gallery proudly presents our 3rd Biennial Taxidermy show .

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This is not your granddady&rsquo\;s taxidermy: road kill is a central part of the &ldquo\;recycled&rdquo\; philosophy of this unusual and enlight ening exhibition\, as are discarded livestock\, destroyed nuisance animals\ , casualties of the pet trade and animals that have expired from natural ca uses. Other sculptures utilize taxidermy techniques in an unorthodox way to fashion fantastic beasts from everyday materials&ndash\;even the recycled pelts of toy stuffed animals. Elements of technology and decoration combine to create ornaments that approach high art\, not only in craft\, but in co ncept.

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Materials and even species are mixed\, helping to broaden presump tive definitions.
Pieces in t his exhibition span Steam Punk to Rococo -from playful to elegant.\n

ANIMA LS ARE NOT KILLED IN THE WORK\, but rather are used to create a conversatio n about death and taxidermy. Here&rsquo\;s a link to pics from the last Rogue Taxidermy Show in 2012.

DTEND:20140601 DTSTAMP:20140416T142001 DTSTART:20140502 GEO:34.100466;-118.28998 LOCATION:La Luz de Jesus Gallery\,4633 Hollywood Blvd. \nLos Angeles\, CA 9 0027 SEQUENCE:0 SUMMARY:The 3rd Biennial Taxidermy Show\, Emily Binard\, Divya Anantharaman \, Kristin Bunyard\, Sarina Brewer\, Cindy Cronk\, Katie Innamorato\, Jerem y Johnson\, Jeffrey R. Kibbe\, Lauren Kane\, Jessica Joslin\, Dr. Paul Koud ounaris\, Emi Slade\, Simone Smith\, Vega\, Brooke Weston UID:332172 END:VEVENT BEGIN:VEVENT DTEND:20140503T230000 DTSTAMP:20140416T142001 DTSTART:20140503T200000 GEO:34.100466;-118.28998 LOCATION:La Luz de Jesus Gallery\,4633 Hollywood Blvd. \nLos Angeles\, CA 9 0027 SEQUENCE:0 SUMMARY:The 3rd Biennial Taxidermy Show\, Divya Anantharaman\, Emily Binard \, Sarina Brewer\, Kristin Bunyard\, Cindy Cronk\, Katie Innamorato\, Jerem y Johnson\, Jessica Joslin\, Lauren Kane\, Jeffrey R. Kibbe\, Dr. Paul Koud ounaris\, Emi Slade\, Simone Smith\, Vega\, Brooke Weston UID:332173 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140621 DTSTAMP:20140416T142001 DTSTART:20140503 GEO:34.081174;-118.387388 LOCATION:M+B\,612 N. Almont Dr. \nLos Angeles\, CA 90069 SEQUENCE:0 SUMMARY:Duo Show\, Aurel Schmidt\, Pierre Molinier UID:332170 END:VEVENT BEGIN:VEVENT DTEND:20140503T200000 DTSTAMP:20140416T142001 DTSTART:20140503T180000 GEO:34.081174;-118.387388 LOCATION:M+B\,612 N. Almont Dr. \nLos Angeles\, CA 90069 SEQUENCE:0 SUMMARY:Duo Show\, Pierre Molinier\, Aurel Schmidt UID:332171 END:VEVENT BEGIN:VEVENT DESCRIPTION:

L.A. Louver is pleased to announce our first \;solo exhibition for New York-based artist\, Rina Banerjee. Bor n in Calcutta\, India\, Banerjee borrows from her South Asian heritage  \;to create fantastical works that evoke themes of gender\, migration and c ultural identity. For her West Coast gallery debut\, Banerjee will present a new body of work\, including drawings on paper\, paintings on wood panel\ , and a selection of assemblage sculptures. \;

DTEND:20140628 DTSTAMP:20140416T142001 DTSTART:20140508 GEO:33.984684;-118.4706679 LOCATION:L.A. Louver\,45 North Venice Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Disgust\, Rina Banerjee UID:332168 END:VEVENT BEGIN:VEVENT DTEND:20140508T200000 DTSTAMP:20140416T142001 DTSTART:20140508T180000 GEO:33.984684;-118.4706679 LOCATION:L.A. Louver\,45 North Venice Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Disgust\, Rina Banerjee UID:332169 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cherry and Martin presents GOODGOD\, Nathan Mabry&rsquo \;s fourth solo exhibition with the gallery. The exhibition will contain la rge-scale sculptures and wall-bound intimate sculptures offering further in sight into his diverse practice.

GOODGOD is a formal exploration of ancient sig ns and symbols combined with references to current universal gestures\, ele ments of popular culture\, spiritual and mythological belief systems and ar t historical innuendo. Mabry&rsquo\;s long term interest in creation myths comes to the fore in this exhibition as one moves from the double-handed ge sture of two tectonic minimalist Cor-ten steel hands that are locked in an unending embrace\, to the ritualistically weeping fecund figurative fountai n to polished bronze dinosaur skulls installed as silent mnemonic instrumen ts.

In 2013\, the Nas her Sculpture Center presented a solo exhibition\, Sightings: Nathan Ma bry and his work was selected for the Phoenix Museum of Art Artpick ac quisition award. Mabry currently has the six-part sculpture Process Art (B-E-A-G-G-R-E-S-S-I-V-E) on view at the SCAD Museum of Art in Savann ah\, GA. His work is in such collections as the Dallas Museum of Art (Dalla s\, TX)\; Vanhaerents Art Museum (Brussels\, Belgium)\; Hammer Museum (Los Angeles\, CA)\; Museum of Contemporary Art\, San Diego\; Los Angeles County Museum of Art (Los Angeles\, CA)\; 176 / Zabludowicz Collection (London\, UK)\; The Rubell Family Collection\, (Miami\, FL) and Whitney Museum of Ame rican Art (New York\, NY). Nathan Mabry received his BFA from the Kansas Ci ty Art Institute and his MFA from the University of California\, Los Angele s.

DTEND:20140628 DTSTAMP:20140416T142001 DTSTART:20140503 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:GOODGOD\, Nathan Mabry UID:332165 END:VEVENT BEGIN:VEVENT DTEND:20140503T190000 DTSTAMP:20140416T142001 DTSTART:20140503T160000 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:GOODGOD\, Nathan Mabry UID:332166 END:VEVENT BEGIN:VEVENT DESCRIPTION:

PAUL WINSTANLEY
ART SCHOOL
3 May -- 28 June 2014
Opening: Saturday 3 May 2014\, 6-8pm< br />
1301PE is pleased to announce its sixth solo exhibition with acc laimed British painter Paul Winstanley entitled Art School. For th e past three decades\, Winstanley's paintings have investigated the subject s of vacant spaces\, the commonplace\, and the dystopic\, and painting's ab ility to transform these familiar and at times melancholic landscapes into the sublime.

"The paintings become something very specific\, som ething that the photographs are not\, and come to embody all my intentions. They are entirely expressive which the photographs are not" -- Paul Winsta nley

Over the span of several months Winstanley photographed the empty painting studios in art schools across England\, Scotland\, and Wale s. In the process of photographing these spaces\, Winstanley began to think not just of art studios as they were being worked in\, but about the studi os as empty spaces\, with dormant potential. Drawn from the documentation o f these studios spaces\, the paintings translate the pure representation of their source into a new form of abstraction. The paintings in this exhibit ion are the final works from Winstanley's Art School series.

Paul Winstanley\, born in Manchester in 1954\, lives and works in Lon don. He has been exhibiting since the late 1970s and over the past two deca des. His first retrospective was held at ARTSPACE in Auckland\, New Zealand . Other solo exhibitions include Driven Landscapes\, Camden Arts C entre\, London and Annexe\, Tate Britain\, in London\, UK. Selecte d group shows include Window to the World\, Fondation de l'Hermita ge\, Lausanne\, which traveled to Museo Cantonale d'arte and Museo d'arte\, Lugano\, Switzerland\; Lifelike\, Walker Art Center\, Minneapolis \; The Deer\, Le Consortium\, Dijon\, France\; Out of focus. A fter Gerhard Richter'\, Kunsthalle Hamburg\, Germany\; Sea Fever: From Turner to today\, Southampton City Art Gallery\, UK\; Terror and the Sublime: Art in an Age of Anxiety\, Crawford Art Gallery\, Cor k\, Ireland\; Conflict Tales: Subjectivity\, Burger Collection\, B erlin\, Germany\; Self as Selves\, Irish Museum of Modern Art Dubl in\, Ireland\; Inside Architecture\, Museum of Contemporary Art\, Los Angeles\; and 8 Visions\, One Dream\, Today Art Museum\, Beiji ng\, China.

A fully illustrated book\, Art School\, wit h text by Jon Thompson and an interview with Maria Fusco (Published by Ridi nghouse\, London) accompanies the exhibition.

For more informat ion please contact Carmel Ni or Brian Butler 323.938.5822.

DTEND:20140628 DTSTAMP:20140416T142001 DTSTART:20140503 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Art School\, Paul Winstanley UID:332163 END:VEVENT BEGIN:VEVENT DTEND:20140503T200000 DTSTAMP:20140416T142001 DTSTART:20140503T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Art School\, Paul Winstanley UID:332164 END:VEVENT BEGIN:VEVENT DESCRIPTION:

galerie102 is pleased to present &ldquo\;Paper Route&rdquo\; featuring gallery artists Aaron Farley\, Ashley Macomber and Jane Peterson. &ldquo\;Paper Route&rdquo\; will be on view Ap ril 26 through June 1\, 2014. The opening reception with artists will be he ld on Saturday\, April 26th from 5-7pm.

\n

&ldquo\;Paper Route&rdquo\; examines how three different arti sts&rsquo\; work on paper:  \;photography\, pen and ink and watercolor and transform the medium beyond its original form. \; Aaron Farley&rsqu o\;s subtle color block photographs become three-dimensional images with fi nely placed paper folds and some eventually stand on their own as sculpture s. Ashley Macomber&rsquo\;s finely detailed and erotic watercolors morph in to bold and arresting digital images. And Jane Peterson&rsquo\;s intimate a nd precisely crafted pen and ink drawings take on new meaning and presence as large-scale print works.

DTEND:20140601 DTSTAMP:20140416T142001 DTSTART:20140426 GEO:34.448907;-119.247681 LOCATION:galerie102\,102 W. Matilija St. \nOjai\, California 93023 SEQUENCE:0 SUMMARY:Paper Route: Three Views of Works on Paper\, Ashley Macomber\, Jane Peterson\, Aaron Farley UID:332078 END:VEVENT BEGIN:VEVENT DTEND:20140426T190000 DTSTAMP:20140416T142001 DTSTART:20140426T170000 GEO:34.448907;-119.247681 LOCATION:galerie102\,102 W. Matilija St. \nOjai\, California 93023 SEQUENCE:0 SUMMARY:Paper Route: Three Views of Works on Paper\, Aaron Farley\, Ashley Macomber\, Jane Peterson UID:332079 END:VEVENT BEGIN:VEVENT DESCRIPTION:

DTEND:20140509 DTSTAMP:20140416T142001 DTSTART:20140329 GEO:34.1847174;-118.2750106 LOCATION:Brand Library Art Galleries\,1601 W. Mountain St. \nGlendale\, CA 91201 SEQUENCE:0 SUMMARY:Turmoil & Tranquility\, Razmik Samvelts\, Jon Rajkovich\, Natasha J une\, Jill Knox UID:332076 END:VEVENT END:VCALENDAR