BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Graduate Thesis Weekend Schedule:
Friday\, September 9\, 2pm-6pm
Saturday\, Septemb er 10\, 9am-6pm
Sunday\, September 11\, 9am-4pm
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Elena Manferdini
Graduate Program \;Chair

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Florencia Pita
Graduate Thesis Coordinator

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Brett Steele< br />Special Advisor
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All school exhibition of thesis work reviewed by members of the SCI-Arc faculty and distinguished local and vis iting architects.
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Guest Critics Include:

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Antonino Saggio
Axel Friedman
Barbara Bestor
Ben West
Brendan M acFarlane
Brett Steele
Bruno Juricic
Didier Faustino
Bi rgit Lohmann
Donald Bates
Dominique Jakob
Fabrizio Gallanti< br />Frances Anderton
Francisco Pardo
Jennifer Siegal
Jeffre y Kipnis
Peter Frankfurt
Pippo Ciorra
Thom Mayne

DTEND:20160911 DTSTAMP:20160825T070306 DTSTART:20160909 GEO:34.0432978;-118.2331044 LOCATION:SCI-Arc Exhibitions\,Southern California Institute of Architecture 960 E. Third St.\nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Graduate Thesis Weekend UID:426346 END:VEVENT BEGIN:VEVENT DTEND:20160909T180000 DTSTAMP:20160825T070306 DTSTART:20160909T140000 GEO:34.0432978;-118.2331044 LOCATION:SCI-Arc Exhibitions\,Southern California Institute of Architecture 960 E. Third St.\nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Graduate Thesis Weekend UID:426347 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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&ldquo\;< em>My personal investigation into life deals with the human condition of tr ying to find a sense of balance that seems to exist between polar extremes &ndash\; that the human condition is to attempt to find a sense of balance between these polarities -this balance is a metaphor of life.&rdquo\;& nbsp\; - Jack Reilly\, speaking about his art.
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\n< div>Jack Reilly (b. 1950 -)\, widely recognized as a trailblazer in the Abs tract Illusion Movement\, a style where paintings &lsquo\;bend the eye&rsqu o\; to achieve three-dimensionality on a two-dimensional surface\, returns to Southern California for a concise but stirring re-evaluation of his arti stic production.\n
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In 1980\, Reilly burst int o L.A. with his solo show at the indomitable Molly Barnes Gallery (a tastem aker who gave early shows to John Baldessari\, Billy Al Bengston and Gronk) . This formative exhibition helped to cement Reilly&rsquo\;s reputation of creating visually powerful and unique works of art &ndash\; works that conv erge abstract expressionistic boldness\, minimalist restraint with trompe l &rsquo\;oeil wonderment. As Suzanne Muchnic\, Los Angeles Times art critic\ , observed\, &ldquo\;He does offer immediate pleasure in carefully orchestr ated compositions\, meticulous technique\, complexity of shadows and ambigu ity of light source."

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Impressed by Reilly&rsquo\;s unique style exhibited at the Barnes Gallery\, Donald Brewer (then Director of LA&rsquo\;s first museum -USC&rsquo\;s Fisher Gallery) quickly arranged for Reilly to be a featured artist for \;The Reality of Illusion\, a national traveling exhibition (Denver Art Museum\, Oakland Museum\, Johnson Museum at Cornell\, and USC Fisher Gallery). From then on\, there was no looking back. Reilly&rsquo\;s prolific artistic output has resulted in numerous public commissions\, domestic and international exhibitions\, a nd his works are in the permanent collection of several museums throughout the country.
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Balancing Act: Paintings b y Jack Reilly \;will highlight the spirit of freedom and experimen tation found in his:
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Basic Object Series \;Two-dimensional surfa ces take on ambiguous characteristics of three-dimensionality as geometric shaped canvases straddle the line between painting and sculpture\; \;\n
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S haped-Canvas Abstractions \; In these works\, Reilly continued t o challenge traditional concepts of illusionary and pictorial space\, execu ted within an abstract painting context\;
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Convergence Period \;Explores an eclectic mix o f abstraction\, representational painting\, classical\, historical and popu lar imagery combined with richly textured surfaces\, cast bas relief and mo saics\, all on a singular-level shaped canvas. These pieces simultaneously comment on a variety of artistic issues ranging from postmodernism to aspec ts of popular culture\, politics and the human condition\;
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The Icon Series \;Considered h ybrids of painting and sculpture\, are rendered in oil and crowned with ela borate\, gilded framework. The format Reilly has adopted pays homage to Eur opean Gothic and Proto-Renaissance icon painting. He elevates the notion of the painted landscape to that of a sacred image\, depicting nature in its pure and perfect form. Working from original sketches and photographs taken at the location\, a variety of scenic elements are composited together to create the idealized depiction of the perfect time and place.
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As the CMATO exhibition will show\, Reilly&rsquo\;s works are bright\, clean and constrained by geometry but no t artistic convention. Although the Getty Museum&rsquo\;s \;Pac ific Standard Time \;exhibition (2012) solidified Reilly&rsquo \;s place in the zeitgeist of the 80&rsquo\;s &ndash\; an era of extremes\, political movements\, the beginning of globalization- do not be mistaken i n thinking his works are out of time with our age. His works are perpetual manifestations of an artist&rsquo\;s investigation of the human condition & ndash\; an ageless inquiry into the nature of our being.
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Balancing Act: Paintings by Jack Reilly \;comple ments CMATO's permanent installation of Betty Gold's sculptures.
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\nOpening Rece ption: Thursday\, September 15\, 2016 (6PM - 8PM) @ CMATO. DTEND:20161211 DTSTAMP:20160825T070306 DTSTART:20160916 GEO:34.1759445;-118.8491312 LOCATION:California Museum of Art (CMATO)\,1948 Thousand Oaks Blvd. \nThous and Oaks\, CA 91362 SEQUENCE:0 SUMMARY:BALANCING ACT: PAINTINGS BY JACK REILLY\, Jack Reilly UID:426344 END:VEVENT BEGIN:VEVENT DTEND:20160915T200000 DTSTAMP:20160825T070306 DTSTART:20160915T180000 GEO:34.1759445;-118.8491312 LOCATION:California Museum of Art (CMATO)\,1948 Thousand Oaks Blvd. \nThous and Oaks\, CA 91362 SEQUENCE:0 SUMMARY:BALANCING ACT: PAINTINGS BY JACK REILLY\, Jack Reilly UID:426345 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The symposium aims to address the speculative directions for architecture in relation to contemporary digital culture. \;As informa tion becomes increasingly mobile\, instantaneous and pervasive\, we take lo ok at the current impact of digital media and the roles online publications and social media will play in the future of architecture and design.

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Moderator: \;

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Bruno Juricic: Architect\, curator and emergen t scholar in the field of architecture\, art and technology.

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Paneli sts:
Birgit Lohmann: CEO/Editor in Chief\, \;designboom
Devin Gharakhanian: Creative Director\,& nbsp\;SuperArchitects
Ameli a Taylor-Hochberg: Managing Editor and Podcast Co-Producer\, \;Archinect
Lucy Redoglia: Digital Marketing and Social Media\, \;LACMA
Benj amin Bratton: SCI-Arc Visiting Faculty\, Cultural Studies and Author of&nbs p\;The Stack

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Bruno Juricic is an architect\, curato r and entrepreneur. Juricic graduated from the University of Architecture i n Venice IUAV\, Italy and later received his MSc degree in Urban Strategies \, with excellence\, from the University of Applied Arts in Vienna\, where he studied under the auspices of Wolf Prix. \;Juricic is a director / C EO of Atelier Bruno Juricic ABJ \, a small\, and agile international design practice. Recently\, ABJ started the construction of the IT Campus ( Pange a ) for the IT tech company called INFOBIP\, that is one world&rsquo\;s lea ding company in the interaction between people and enterprises through mobi le technology. \;

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Birgit Lohmann is founder and editor-in-chief of designboom. \;Established in 1999\, designboom.com is the world's f irst cultural online magazine for architecture and design news\, jumpstarti ng emerging talent and giving creatives \;the breaking news they need t o know\, everyday. \;It is the go-to creative resource for manufacturer s\, cultural institutions\, governmental departments for economic growth wi thin the design industry\, fair and events. \;

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Devin \;Ghar akhanian is co-founder and creative director of SuperArchitects\, \;a g lobal (publication + \;media) network influencing architectures&rsquo\; future counterculture. \;Although primarily trained as an architect th rough the academic and professional world\, his antidisciplinary desires co ntinue and lead him towards alternative scenarios such as urban dynamics\, design fiction\, social culture\, all in which integrate emerging technolog ies. Currently\, Devin has been developing a new type of collaborative desi gn lab within the basis of visual strategy and environmental design\, along with pursuing independent research towards soſtware/content within virtual reality - questioning or speculating Architectures&rsquo\; future through a more user-interactive or immersive way of storytelling. \;

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Ame lia Taylor-Hochberg is a writer\, editor and podcaster in Los Angeles. As M anaging Editor and Podcast Producer for Archinect\, she works to make archi tecture more accessible and expansive&mdash\;by developing original editori al\, podcast discussions\, and live events. Outside of Archinect\, Amelia c o-runs The Conflict Arrives\, a &ldquo\;conceptual studio&rdquo\; that make s stuff like a board game about Los Angeles. She has been published in A+U and the Journal of Urban Design and Mental Health\, and is also a contribut or to Hawkmoth\, an online science quarterly\, and writes about television and film for Tiny Mix Tapes. \;She has a BA with Honors in Rhetoric fro m UC Berkeley\, where she wrote her thesis on the aesthetics of molecular g astronomy\, and swore she'd never move back to LA.

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Lucy Redoglia is a museum marketing and communications specialist\, currently working as So cial Media Manager the Los Angeles County Museum of Art. She has received i nternational acclaim for her imaginative and forward-thinking approach to s ocial media\; notably\, a Webby award for LACMA&rsquo\;s Snapchat. From 200 9&ndash\;2015\, Lucy worked in the Digital Media department at The Metropol itan Museum of Art\, contributing to many aspects of digital strategy inclu ding email marketing\, website imaging and design\, and social media. Lucy also built the social media presence for ArtPrivé\;e\, an online dire ctory of private art collections around the world\, and a resource for art enthusiasts and collectors. She is particularly interested in the ways tech nology can enhance communication and engagement with art. Lucy loves the en cyclopedic collections of the museums for which she has worked\, bringing a wareness of the museum initiatives and their artworks to a global audience.

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Benjamin H. Bratton is a theorist whose work spans Philosophy\, Ar t and Design. He is Associate Professor of Visual Arts and Director of The Center for Design and Geopolitics at the University of California\, San Die go. He is also Professor of Digital Design at The European Graduate School in Saas-Fee\, Switzerland. His research is situated at the intersections of political &\; social theory\, emerging computational media &\; infra structure\, and interdisciplinary design methodologies. His next book\, The Stack: On Software and Sovereignty\, will be published by MIT Press. Bratt on has lectured widely\, and is the author of dozens of essays\, articles\, book chapters\, in both academic and popular publications. He has been a v isiting lecturer and critic at Columbia\, Princeton\, UCLA\, Parsons/ The N ew School\, The Strelka Institute (Moscow)\, Art Center College of Design\, Michigan\, Die Angewandte (Vienna)\, Bauhaus-University\, Moscow State\, a mong many others.

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DTEND:20160914T210000 DTSTAMP:20160825T070306 DTSTART:20160914T190000 GEO:34.0432978;-118.2331044 LOCATION:SCI-Arc Exhibitions\,Southern California Institute of Architecture 960 E. Third St.\nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:#SCIArc: Architecture in the Age of Digital Media UID:426330 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161022 DTSTAMP:20160825T070306 DTSTART:20160910 GEO:34.0329289;-118.3748082 LOCATION:Kopeikin Gallery\,2766 South La Cienega Blvd \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:The Great Divide\, Katie Shapiro UID:426288 END:VEVENT BEGIN:VEVENT DTEND:20160910T200000 DTSTAMP:20160825T070306 DTSTART:20160910T180000 GEO:34.0329289;-118.3748082 LOCATION:Kopeikin Gallery\,2766 South La Cienega Blvd \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:The Great Divide\, Katie Shapiro UID:426289 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The depiction of the human bod y in art history is a field littered with problematic tropes: the heroic ma le\, the objectified female\, the exotic native. These pervasive images ste m from traditions of art and beauty that were developed from a strictly whi te\, European\, male\, and heteronormative perspective. Feminine bodies in western culture have almost always been viewed as objects of display\, not to mention non-white or queer bodies\, which are likewise consigned to be f etishitic oddities if they are included at all. The artists in this exhibit ion take the human form\, with all of its art historical and societal bagga ge\, as their subject.

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Loren Britton and Tatiana Berg use abstraction as a tool to blur the lines of gender and sexuality. In Britton&rsquo\;s paintings the abstraction of bodily forms pr ovides an aesthetic space for a spectrum of gender identities while Berg&rs quo\;s brushy simplified figures possess an unencumbered and joyful embrace of their human sexuality. Likewise\, Roger Herman&rsquo\;s messy erotic ce ramics take their inspiration from Hans Bladung Grien&rsquo\;s 16th century depictions of witches\, earthy and obscene in their naked exuberance.

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Both Courtney Cone and Aimee Goguen mine more taboo aspects of bodies: the warm\, wet\, sticky places of biological processes. Cone&rsquo\;s orifice sculptures revel in the gross possibilitie s of flesh as form\, while Goguen&rsquo\;s visceral mashup of amateur porno graphy and horror visuals illustrate how little space exists between repuls ion and arousal. Max Maslansky and Anja Salonen opt for humor in depicting their subjects. Salonen samples comic books and cartoons as visual inspirat ion her goofily absurd\, sausage-handed figures while Maslansky&rsquo\;s cr eates clown-nosed parodies of pornography to address the (white) male gaze in relation to the nude and the sex act.

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Ashley Armitage&rsquo\;s works glorify alternatives to the standard ide al forms of feminine beauty. Armitage&rsquo\;s photo series &lsquo\;Taking Back What&rsquo\;s Ours&rsquo\; highlights the beauty of stretch marks\, ar mpit hair\, and non-white skin. Similarly\, Chanel Von Habsburg-Lothringen& rsquo\;s masked photos of herself and her grandmother play with the slick t ropes of fashion photography. Her inclusion of the aging female body in ima ges of sexualized objectification empathize visual culture&rsquo\;s pervasi ve youthbias.

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Art brand BFGF mines a high/low mix of art historical motifs and Tumblr-era pop culture to create an array of lifestyle products depicting classical and primitive nudes free d from their patriarchal ancestry to enjoy a chill-zone of idealized pleasu re. Cheryl Bentley&rsquo\;s drawings of unselfconsciously libertarian sexua lity refuse societal prescriptions of sex and gender with abandon.

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Both Shanna Waddell and Bari Ziperstein promo te new visions of feminine strength and power\, celebrating girly aesthetic s along with athleticism and aggression respectively. Alternately\, Andrea Joyce Heimer&rsquo\;s representations of unselfconscious female nudes are e vocative in their universally legible suburban weirdness. Laurie Nye&rsquo\ ;s confidently assertive sci-fi figure blends nature and technology into an empowered hybrid form. Also forward thinking are the silicone sculptures o f Ellen Schafer which consider bioengineering and the future of the body as commodity. Nicole Lesser explores the commodities themselves\, and the way s that the clothing and accessories with which we adorn our bodies are cult ural and aesthetic signifiers.

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Taken in total these works give voice to different possibilities\, agency to marg inalized positions and resist dominant understandings of gender\, race\, an d sexuality. The body may be  \;a battleground but it is also the essen tial humanity that unites us all. Shouldn&rsquo\;t our art and culture repr esent and celebrate the multiplicity of voices it contains\, rather than gl orify a timeworn singular definition?

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The exhibition will be accompanied by a series of events featuring the wor k and thoughts of: Meghan Gordon\, Liz Toonkel\, Shanna Waddell\, and Cathe rine Wagley. \;

DTEND:20161002 DTSTAMP:20160825T070306 DTSTART:20160828 GEO:34.120552;-118.323113 LOCATION:ltd los angeles @ Hollywood Hills House\,2801 Belden Drive \nLos A ngeles\, CA 90068 SEQUENCE:0 SUMMARY:Figure as Form\, Ashley Armitage\, Cheryl Bentley\, Tatiana Berg\, BFGF\, Loren Britton\, Courtney Cone\, Aimee Goguen\, Andrea Joyce Heimer\, Roger Herman\, Nicole Lesser\, Max Maslansky\, Laurie Nye\, Anja Salonen\, Ellen Schafer\, Chanel von Habsburg-Lothringen\, Shanna Waddell\, Bari Zip erstein UID:426163 END:VEVENT BEGIN:VEVENT DTEND:20160828T180000 DTSTAMP:20160825T070306 DTSTART:20160828T140000 GEO:34.120552;-118.323113 LOCATION:ltd los angeles @ Hollywood Hills House\,2801 Belden Drive \nLos A ngeles\, CA 90068 SEQUENCE:0 SUMMARY:Figure as Form\, Ashley Armitage\, Cheryl Bentley\, Tatiana Berg\, BFGF\, Loren Britton\, Courtney Cone\, Aimee Goguen\, Andrea Joyce Heimer\, Roger Herman\, Nicole Lesser\, Max Maslansky\, Laurie Nye\, Anja Salonen\, Ellen Schafer\, Chanel von Habsburg-Lothringen\, Shanna Waddell\, Bari Zip erstein UID:426164 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ruth Bachofner Gallery is plea sed to present an exhibition of new paintings by Trang T. Lê\;. There will be a reception for the artist Saturday\, September 10\, 4-6 PM.

\n< p style="text-align: justify\;">Trang T. Lê\;'s paintings and process are tied to a personal journey that follows an irregular course that spans early childhood to the present - the idyllic surroundings of her Vietnamese village\, her experience as an immigrant fleeing the Vietnam war and the C ommunist regime of the 1980's\, acclimating to a new country as a refugee a nd the numerous transitions in her recent past\, are all distilled in the a bstract paintings she has produced throughout her career as a painter. She has continuously and boldly drawn from her inner workings\, while remaining keenly aware of and reacting to the world around her.

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Lê\;'s formal evolution with respect to marking-mark ing is intertwined with the personal narrative from which she draws. In 201 0\, the artist culminated a 56-foot long painting which honored and tallied civilian and soldier deaths of the Iraq war. The 111\,978 tiny oil paint s pirals she used as somber tally marks were gathered into a beautifully flow ing composition. The piece was a rumination on human losses\, as well as he r own experiences with political conflict\, but ultimately reflect on and r adiate tranquility and healing. The conceptual underpinnings of this small mark made a dramatic shift in the matter of a couple years - from taking in the movements and details of a leaf in work produced in 2004\, to an epic meditation on the consequences of war.

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Her obsessive approach to painting continues to find new adaptations with this exhibition\, where the spiral has unfurled and become tight loops and sinuous threads that float across the canvas. In this exhibition\, Trang T . Lê\;'s formal moves come together into single paintings where bold p ainterly

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smudging holds variously com posed swirls and fibrous trails. With this combination comes a new dimensio nality and grounding that retains the buoyancy of past work. Turmoil and gr ace\, strength and vulnerability\, intuition and calculation\, gravity and weightlessness merge in these stirring paintings\, where Trang finds streng th and clarity. As has been the case with all her work\, she gets lost in o bsessive delineations which become cathartic acts\, filtered through person al toil\, joy\, survival and triumphant transition.

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Trang T. Lê\; received her MFA from Claremont Graduate University in 2006. This exhibition is accompanied by a book titled Gen tle Wave\, that traces her personal journey and artistic evolution.&nb sp\;

DTEND:20161015 DTSTAMP:20160825T070306 DTSTART:20160910 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Transition\, Trang T. Le UID:426161 END:VEVENT BEGIN:VEVENT DTEND:20160910T180000 DTSTAMP:20160825T070306 DTSTART:20160910T160000 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Transition\, Trang T. Le UID:426162 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ruth Bachofner Gallery is plea sed to present Op-Tech\, an exhibition of new paintings by Trygve Faste. There will be a reception for the artist on Saturday\, September 10\ , 4-6 PM.

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Trygve Faste responds to pr evailing currents in contemporary products\, design and technology through abstract paintings that address the aesthetic and cultural impact of these forces. Faste's particular language of abstraction expresses a fascination with the visual aspect of consumerism\, while acknowledging the correlating complexities that come with it &ndash\; particularly issues pertaining to outward perception. Faste uses visual cues of product design within the pra ctice of fine art to incite a conversation about how images (or products) a re comprehended and intended to be read and the consequences of those choic es.

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Faste's work begins with an archi tectural approach where hand and computer-generated drawing help form the i ntricate substructures for his paintings. Through the use of airbrush and p ainting\, his surfaces slowly evolve into spatially complex objects\, where illusion of depth supports actual dimensionality and vise versa. While the bright palette and angularity of the work creates a kinship with the slick ness of a manufactured product\, there is an enduring intimacy that most in dustry does not achieve or even strive for. The slight lift of built-up pai nt\, evidence of a moving hand to push paint across the surface\, and imper fectly articulated transitions keeps the work grounded in the world of pain ting.

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&ldquo\;My current body of work uses abstraction to reference the aesthetic sensibility of the many contem porary products and technologies that I find fascinating\,&rdquo\; Faste st ates. &ldquo\;Similar to the way in which science fiction can address socie tal issues in a way that removes them from the immediate reality of politic s so that they can be more openly and less controversially discussed\, I us e these paintings to examine the duality of futuristic opportunity and trag ic side effect that can be found in many aspects of consumerism. The relati onship of appearance to substance in design can be fickle. It is also an ar ea that naturally merges with my interest in the interconnected nature of i mage as realized through graphics on form.&rdquo\;

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Trygve Faste received an MFA in painting from Cranbrook Acade my of Art\, and a BA in Mathematics-Computer Science and Studio Art from Wh itman College. Trygve Faste lives and works in Eugene\, Oregon where he is an Assistant Professor of Product Design at The University of Oregon. \ ;

DTEND:20161015 DTSTAMP:20160825T070306 DTSTART:20160910 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:OpTech\, Trygve Faste UID:426159 END:VEVENT BEGIN:VEVENT DTEND:20160910T180000 DTSTAMP:20160825T070306 DTSTART:20160910T160000 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:OpTech\, Trygve Faste UID:426160 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160924T170000 DTSTAMP:20160825T070306 DTSTART:20160924T130000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:BAM Fest 2016 UID:426158 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Cirrus Gallery is pleased to announce the opening of \;RELEASE\, Tyler Matthew Oyer's seco nd solo show with the gallery. The exhibition continues Oyer's theatrical i nvestigations and critiques of American imperialism\, neoliberalism and gre ed with an installation of paintings\, sculptures\, apparel\, and an origin al music album. \;
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The exhibition presents Oyer's high ly sought after\, iconic black and gold works on paper that are derived fro m meditations on text and images sourced from song lyrics\, film scripts\, Bible verse\, advertisements\, art history\, and personal experiences. The painting\, "Marquee #59" reproduces Phillip Johnson's Glass House - minimal to the bone - with a large message across it\, saying "Glamourize Your Mes ses"\, while in "Marquee #90"\, "Helplessness" is scrawled on what appears to be a contorted Picasso figure. Dating from 2011-2016\, these works amass as an uncanny architecture of signifiers and symbols that call names and r ecite phrases to create a lexicon of desire and destruction. Despite this d istopian view\, the playful nature of the paintings transcends their cultur al anchors to encourage multiple readings of the text and thus inspire pers onal reflection and narrative.
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Oyer's collaborative album further engages the viewer and the stronghold of meta-narratives of the pas t\, by way of sound and movement. The album\, \;RELEASE\, begi ns its journey with an inquiry into a series of spells that were embedded w ithin the sound waves of a number of popular songs in 1982. These spells we re engineered to enter the minds of listeners via their eardrums and disman tle the white supremacist\, capitalist\, imperialist\, and patriarchal path ologies that characterize American domination. The album\, \;RELEAS E\, harnesses club music in order to conjure\, engineer\, and cast new spells and prompt movement\, participation\, and subsequently change.  \;RELEASE \;will be available through wireless headsets\, crea ting an experiential viewing of the paintings and sculptural elements. The album will also be available on various platforms\, distributed by Practica l Records. Musical collaborators include Max Boss\, Bendik Giske\, Anders R hedin\, Julia Giertz\, Kelman Duran\, Ingmar Carlson\, Lex Brown and Kembra Pfahler.
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As with his first exhibition\, \;Shimmy Shake Earthquake\, \;RELEASE \;considers the body and our senses as an agent for participation and change. While the paintings i n the exhibition transfix the viewer by way of image and text\, the album u tilizes music and myth to entrance and disarm the architects of our current social and political constructs.
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Tyler Matthew Oyer (b. 1 987\, Pennsylvania) has exhibited and performed extensively throughout the US and Europe. Recent presentations include\, \;Exploring the Nowan nago \;with Kenyatta A.C. Hinkle\, Grand Central Art Center\, Sant a Ana\, CA\, and Museum of the African Diaspora\, San Francisco\; SOPPEN Pe rformance Festival\, Oslo\, Norway\; BOFFO Festival\, Fire Island Pines\, N Y\; MoMA PS1\, NY\; REDCAT\, Los Angeles\; dOCUMENTA (13)\, Kassel\, German y\; Hammer Museum in Los Angeles\; Kunstnernes Hus Oslo\, Oslo\, Norway\; B ergen Kunstall\, Bergen\, Norway\; and Rogaland Kunstsenter in Stavanger. H is work can be found in the permanent collection of the Museum of Modern Ar t (NY)\, along with a number of private collections. \;
DTEND:20161112 DTSTAMP:20160825T070306 DTSTART:20160916 GEO:34.0207704;-118.2303981 LOCATION:Cirrus Gallery\,2011 South Santa Fe Avenue \nLos Angeles\, CA 9002 1 SEQUENCE:0 SUMMARY:Release\, Tyler Matthew Oyer UID:426156 END:VEVENT BEGIN:VEVENT DTEND:20160916T200000 DTSTAMP:20160825T070306 DTSTART:20160916T180000 GEO:34.0207704;-118.2303981 LOCATION:Cirrus Gallery\,2011 South Santa Fe Avenue \nLos Angeles\, CA 9002 1 SEQUENCE:0 SUMMARY:Release\, Tyler Matthew Oyer UID:426157 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161029 DTSTAMP:20160825T070306 DTSTART:20160910 GEO:34.0339839;-118.370736 LOCATION:Mark Moore Gallery\,5790 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Solo Exhibition\, Mark Bennett UID:426155 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161029 DTSTAMP:20160825T070306 DTSTART:20160910 GEO:34.0339839;-118.370736 LOCATION:Mark Moore Gallery\,5790 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Solo Exhibition\, Zemer Peled UID:426154 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Photographic Arts Council ·\; Los Angeles \;is plea sed to announce \;COLLECTORS&rsquo\; FAVORITES\, a special exh ibition of photographs on loan from private collections of members of PAC & middot\; LA\, hosted byROSEGALLERY. A private opening will take place on Saturday\, August 20\, \;6 - 8 p. m.

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On view will be over 70 artworks\, ranging from early photographs to works of the present day. This year&rsqu o\;s Collectors&rsquo\; Favorites exhibition features such masters as Rober t Frank\, Irving Penn\, Imogen Cunningham and Edward Weston\, as well as ne w and vintage works by artists championed by PAC ·\; LA collectors. Y ou&rsquo\;ll see works by Lee Friedlander\, Augusta Wood\, Mary Ellen Mark\ , Torbjø\;n Rø\;dland\, Nick Waplington\, Clarence Sinclair Bul l\, Dulce Pinzó\;n\, Rinko Kawauchi\, Margaret Bourke-White\, and doz ens more.

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COLLECTORS&rsquo\; FAVO RITES \;reflects the diverse passions and interests of PAC · \; LA&rsquo\;s members\, counting among their ranks many leading California photography collectors and those interested in learning more about photogr aphy. The prints on display will be accompanied by brief statements from th e collectors\, explaining their thoughts about their selections and reasons for exhibiting these specific photographs.
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Now in its fo urth year as an independent group\, the Photographic Arts Council ·\; Los Angeles was founded to foster individual and community-wide knowledge and appreciation of the Photographic Arts. Throughout the year\, PAC &middo t\; LA members are invited to special collection and artists' studio visits \, take part in educational programming\, are offered private curator-led w alkthroughs\, as well as travel opportunities outside Los Angeles.

DTEND:20160903 DTSTAMP:20160825T070306 DTSTART:20160820 GEO:34.0276049;-118.4678444 LOCATION:ROSEGALLERY\,Bergamot Station Art Center 2525 Michigan Avenue G-5\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:PAC/LA Collectors' Favorites\, Lee Friedlander\, Augusta Wood\, Mar y Ellen Mark\, Torbjøn Rødland\, Nick Waplington\, Clarence Sinclair Bull\, Dulce Pinzon\, Rinko Kawauchi\, Margaret Bourke-White\, Robert Frank\, Irv ing Penn\, Imogen Cunningham\, Edward Weston UID:426152 END:VEVENT BEGIN:VEVENT DTEND:20160823T200000 DTSTAMP:20160825T070306 DTSTART:20160823T180000 GEO:34.0276049;-118.4678444 LOCATION:ROSEGALLERY\,Bergamot Station Art Center 2525 Michigan Avenue G-5\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:PAC/LA Collectors' Favorites\, Margaret Bourke-White\, Clarence Sin clair Bull\, Imogen Cunningham\, Mary Ellen Mark\, Robert Frank\, Lee Fried lander\, Rinko Kawauchi\, Irving Penn\, Dulce Pinzon\, Torbjøn Rødland\, Ni ck Waplington\, Edward Weston\, Augusta Wood UID:426153 END:VEVENT BEGIN:VEVENT DESCRIPTION:

GIVE ME THE NIGHT \ ;
A benefit show for \;The Smell \;at 356 S. Mission Road \;
$5 (or more if yo u can) \;
All proceeds donated to The Smell's relocation fund  \;
All ages / no drugs or alcohol \;

performanc es by:
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The Seth Bogart Show (Live)&nb sp\;
Snake Jé\; (ex-Mika Miko\, ex-Crazy Band)& nbsp\;
Fictitious Business DBA The Geminis \;
VIP \;
plus DJ M. Suarez \ ;

Vegan treats by \;Cla ra Cakes \;available \;

Tuesday\, August 23rd \;
7 - 11 PM \;

DTEND:20160823T230000 DTSTAMP:20160825T070306 DTSTART:20160823T190000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Give Me Tonight: A Benefit Show for The Smell UID:426151 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Leslie Sacks Gallery is plea sed to announce an exhibition of graphic work by renowned artist\, Jim Dine . The exhibition will include a range of iconic imagery from 1973-2010 of h earts\, robes and Venuses\, as well as early works of figures and tools. Th is presentation exemplifies the Ohio native's decades-long affinity for the medium of printmaking and further demonstrates his extraordinary abilities as an innovative printmaker.
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Unlike many artists who prod uce editions\, printmaking is a deliberate media choice for Jim Dine\, enab ling him tremendous freedom to explore\, experiment and push the limits of the conventional wisdom of the process. Dine's earliest recorded prints wer e the product of a 'happening'\, which he staged at Reuben Gallery in New Y ork City in 1960. \;The Car Crash\, 1960 focused upon themes o f human suffering\, and consisted of five black and white and one color lit hograph. In contrast to the oeuvre of recurring imagery that would follow\, Dine would never repeat this dark gestural\, expressionist imagery again. However\, these early editions unmistakably exhibit the veneration Dine hol ds for master etchers like Dü\;rer\, Rembrandt and Picasso. As seen in& nbsp\;Four German Brushes (Plate 3)\, 1973\, the etching detail is sensitive and meticulous and the plate richly inked. Printmaking is unques tionably a collaborative affair in which Dine relishes.  \;He has worke d with virtually every master printer the world over\, printing in every ci ty he visits and printing nearly everyday. He even worked with Picasso's il lustrious master printer\, Aldo Crommelynck. Crommelynck was famously appal led by some of Dine's seemingly outlandish techniques-his use of electric t ools and a complete disregard for accepted printmaking practices. But\, bot h artist and master printer must work together\, whether in a push-pull man ner or a more harmonious union\, the two must cooperate to execute the visi on.
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Dine embraces the randomness and accidental nature of the printmaking process. He never sketches prior to printing\; all ideas go immediately onto the plate\, contributing to the born-at-once quality of h is prints. His editions are complex endeavors\, often integrating multiple printmaking techniques into a single work. InDream Venus\, 2002 he combines soft-ground etching\, lithography and hand stamping. Dine commonl y uses electric tools such as jigsaws\, chainsaws\, dremels and drills. In the large-scale robe \;Very Picante\, 1995 the segments of the robe were cut and composited from a large sheet of cardboard\, and then re assembled on the press like a jigsaw puzzle. Fourteen jigsaw pieces were th en relief printed in one print run\, after which two more plates\, cut by c hainsaw\, were printed. Dine also employs additive elements by hand colorin g after printing such as acrylic paint\, powdered pigments and watercolor. The integrated result is a dynamic\, activated surface and a unique multifa ceted composition.
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Jim Dine 's work is held in numerous esteemed private and public collections includi ng the British Museum\, London\, the Centre Georges Pompidou\, Paris\, the Hirshhorn Museum and Sculpture Garden\, Washington\, D.C.\, the Metropolita n Museum of Art\, New York\, the Museum of Modern Art\, New York\, the San Francisco Museum of Modern Art\, California\, the Smithsonian American Art Museum\, Washington\, D.C.\, the Solomon R. Guggenheim Museum\, New York\, the Tate Modern\, London\, the Walker Art Center\, Minneapolis\, and the Wh itney Museum of American Art\, New York.
DTEND:20161022 DTSTAMP:20160825T070306 DTSTART:20160910 GEO:34.0276049;-118.4678444 LOCATION:Leslie Sacks Gallery\,Bergamot Station 2525 Michigan Ave.\, B6\nSa nta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Printmaker\, Jim Dine UID:426149 END:VEVENT BEGIN:VEVENT DTEND:20160910T200000 DTSTAMP:20160825T070306 DTSTART:20160910T180000 GEO:34.0276049;-118.4678444 LOCATION:Leslie Sacks Gallery\,Bergamot Station 2525 Michigan Ave.\, B6\nSa nta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Printmaker\, Jim Dine UID:426150 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161022 DTSTAMP:20160825T070306 DTSTART:20160917 GEO:34.098385;-118.331264 LOCATION:Tif Sigfrids\,1507 Wilcox Avenue \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:Woronowii Editions\, Zachary Leener UID:426111 END:VEVENT BEGIN:VEVENT DTEND:20160917T180000 DTSTAMP:20160825T070306 DTSTART:20160917T160000 GEO:34.098385;-118.331264 LOCATION:Tif Sigfrids\,1507 Wilcox Avenue \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:Woronowii Editions\, Zachary Leener UID:426112 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161015 DTSTAMP:20160825T070306 DTSTART:20160910 GEO:34.0314527;-118.3761739 LOCATION:Susanne Vielmetter Los Angeles Projects\,6006 Washington Blvd \nCu lver City\, CA 90232 SEQUENCE:0 SUMMARY:Solo Exhibition\, Rodney McMillian UID:426030 END:VEVENT BEGIN:VEVENT DTEND:20160910T200000 DTSTAMP:20160825T070306 DTSTART:20160910T180000 GEO:34.0314527;-118.3761739 LOCATION:Susanne Vielmetter Los Angeles Projects\,6006 Washington Blvd \nCu lver City\, CA 90232 SEQUENCE:0 SUMMARY:Solo Exhibition\, Rodney McMillian UID:426031 END:VEVENT END:VCALENDAR