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Do you remember seeing the &ldquo\;Blob&rdquo\; movies from the 1950&rsquo\;s and &lsquo\;60&rsquo\;s? There was a strange intersection brewing between sci-fi and sex\, drugs (or at least alcohol)\, and rock n& rsquo\; roll. \; The &rsquo\;57 original even had a catchy little theme song. The concept of a killer slime from outer space was scary enough but there was also a tongue-in-cheek vibe going on\, a certain cool hot-rod kid in the know feeling that pre-imagined the experimentation and youth-domina ted culture of the 1960&rsquo\;s.

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 \;This assembled group of ar tists are only vaguely related but they share some of the spirit of that ea rly sci-fi rock n&rsquo\; roll as well as a formal trend toward something t hat I&rsquo\;ll loosely define here as &ldquo\;Blobyness.&rdquo\; \;

DTEND:20150801 DTSTAMP:20150530T153348 DTSTART:20150613 GEO:34.0276049;-118.4678444 LOCATION:Richard Heller Gallery\,Bergamot Station 2525 Michigan Ave B-5A\nS anta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Behold! The Blob\, Marcel Dzama\, Mark Flood\, Erik Frydenborg\, Et han Greenbaum\, Craig Kauffman\, Mike Kelley\, Brendan Monroe\, Joakim Ojan en\, Raymond Pettibon\, Paco Pomet\, Vanessa Prager\, Ivan Seal\, Devin Tro y Strother\, Fred Tomaselli\, Wendy White\, Dustin Yellin UID:385438 END:VEVENT BEGIN:VEVENT DTEND:20150613T190000 DTSTAMP:20150530T153348 DTSTART:20150613T170000 GEO:34.0276049;-118.4678444 LOCATION:Richard Heller Gallery\,Bergamot Station 2525 Michigan Ave B-5A\nS anta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Behold! The Blob\, Marcel Dzama\, Mark Flood\, Erik Frydenborg\, Et han Greenbaum\, Craig Kauffman\, Mike Kelley\, Brendan Monroe\, Joakim Ojan en\, Raymond Pettibon\, Paco Pomet\, Vanessa Prager\, Ivan Seal\, Devin Tro y Strother\, Fred Tomaselli\, Wendy White\, Dustin Yellin UID:385439 END:VEVENT BEGIN:VEVENT DESCRIPTION:

George Billis Gallery is pleas ed to present the gallery&rsquo\;s first exhibition of Kal Mansur&rsquo\;s abstract wall constructs. The exhibition features the artist&rsquo\;s newes t series of acrylic and plexiglass constructions. \; The exhibition con tinues through July 11th.

Kal Mansur&rsquo\;s work emulates geom etric forms in architecture. Using a highly polished level of skill\, he pu rsues the minimalist objective of erasing the trace of the artist&rsquo\;s hand. His innovative use of materials imbues the work with a unique luminos ity. In daylight\, the seamless fusion of opaque and translucent elements i n each work activates a vivid study of light and form. Here the way in whic h light reflects around buildings is materialized. With heightened light co nditions\, the work is transformed into a radiant object that appears to gl ow without a discernible power source.

Mansur roots himself in t he tradition of minimalist sculpture set by the likes of Donald Judd and An ish Kapoor. He is influenced by the sublime evocations of color exemplified by Mark Rothko. His work consists of compelling juxtapositions of blurred\ , lyrical color fields with aerodynamic forms and precise lines.

DTEND:20150711 DTSTAMP:20150530T153348 DTSTART:20150530 GEO:34.033637;-118.375646 LOCATION:George Billis Gallery- LA\,2716 S. La Cienega Blvd. \nLos Angeles\ , CA 90034 SEQUENCE:0 SUMMARY:New Work\, Kal Mansur UID:385318 END:VEVENT BEGIN:VEVENT DTEND:20150530T200000 DTSTAMP:20150530T153348 DTSTART:20150530T170000 GEO:34.033637;-118.375646 LOCATION:George Billis Gallery- LA\,2716 S. La Cienega Blvd. \nLos Angeles\ , CA 90034 SEQUENCE:0 SUMMARY:New Work\, Kal Mansur UID:385319 END:VEVENT BEGIN:VEVENT DESCRIPTION:

George Billis Gallery is pleas ed to present the gallery&rsquo\;s fifth solo exhibition of Terry Thompson& rsquo\;s paintings. The exhibition features the artist&rsquo\;s newest seri es of highly detailed oil paintings based on vintage signage and graphics\, these paintings continue his exploration of text. \; The exhibition co ntinues through July 11th.

In this most recent series\, realist painter Terry Thompson continues to explore his fascination with text and A mericana through his highly detailed and aggressively cropped oil paintings based on vintage signage and graphics.

Thompson finds his subje cts while exploring the forgotten back streets of cities across the United States. \; This discovery process\, coupled with being in the presence of these signs\, is important for his method which coalesces into paintings that are geometrically\, contextually\, and formally interesting\; paintin gs which reveal a hidden beauty in the mundane and banal. \; \;

Text is prominent in most of Thompson&rsquo\;s paintings and he oft en amplifies its ambiguity through his use of cropping. \; This results in disjointed text and words that confront the viewer\, begging to be read or deciphered.

Thompson is primarily drawn to older\, unique si gns that have somehow avoided the wrecking ball. Thompson says\, &ldquo\;I see these signs as historically and emotionally charged metaphors for beati ng the odds. When I render rust\, faded paint or broken neon\, I&rsquo\;m i mbuing my paintings with a sense of humanity and history.&rdquo\;

Thompson&rsquo\;s work can be found in private collections throughout the world and in the permanent collections of The San Jose Museum of Art\, The Nevada Museum of Art\, The California Museum -Sacramento\, The de Saisset Museum of Art - Santa Clara University\, and The Fort Wayne Museum of Art.& nbsp\; Terry Thompson lives and works in San Francisco.

DTEND:20150711 DTSTAMP:20150530T153348 DTSTART:20150530 GEO:34.033637;-118.375646 LOCATION:George Billis Gallery- LA\,2716 S. La Cienega Blvd. \nLos Angeles\ , CA 90034 SEQUENCE:0 SUMMARY:Dive Motels and Cheap Eats\, Terry Thompson UID:385316 END:VEVENT BEGIN:VEVENT DTEND:20150530T200000 DTSTAMP:20150530T153348 DTSTART:20150530T170000 GEO:34.033637;-118.375646 LOCATION:George Billis Gallery- LA\,2716 S. La Cienega Blvd. \nLos Angeles\ , CA 90034 SEQUENCE:0 SUMMARY:Dive Motels and Cheap Eats\, Terry Thompson UID:385317 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In jest\, th ere is truth. - William Shakespeare

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Twenty-five years ago I o rganized an exhibition titled \;$PENT: Currency\, Security\, and Ar t on Deposit \;for The New Museum in New York. I was one of a numb er of young applicants invited to apply for new NEA-funded curatorial inter nships\, a nationwide initiative to bring more women and minorities into th e field. \;$PENT \;was the culmination (or "thesis exhibit ion") of my yearlong internship in the museum's curatorial department and i t was supported by a cast of very talented emerging artists\, including Gle nn Ligon\, Moyra Davey\, Gary Simmons\, Paul Ramirez Jonas\, Carrie Mae Wee ms\, Donald Moffett\, and Julia Scher\, among others--for many of them\, th eir first museum project. \;

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My r esidency at The New Museum was bracketed by a series of newsworthy events\, among them the continuing devastation of the AIDS pandemic and the tumultu ous upending of the ecomomy wrought by the Wall Street crash (both which de alt proportionate blows to the art world)\, the dismantling of the Berlin W all and the occupation of Tiananmen Square by pro-democracy demonstrators\, the Iraqi invasion of Kuwait and subsequent Persian Gulf War\, the electio n of George W. H. Bush as the 41st \;President of the US--and the first airing of The Simpsons on television. \;

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Installed at a bank next door to The New Museum (concurrent with&n bsp\;The Decade Show)\,$PENT \;was a \;seriou s \;exhibition designed to inject a big dose of subversive humor a nd provocative criticality upon a well-meaning host. It still amazes me tha t I managed to circumvent a cadre of\, frankly\, very suspicious bank offic ials who were left to scratch their heads and fend with the effusive congra tulatory and community-building cheerleading of the museum's larger-than-li fe\, never-say-never director\, Marcia Tucker.  \;

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Fast forward: late last year\, while doing research for o ur summer group show\, I came across an image on the internet that stopped me in my tracks and caused me to break out in laughter. The HA HA! BUSINESS ! meme gave me a good slap on the face and brought back great memories of&n bsp\;$PENT. There he was again--the boogeyman with the briefcase f ull of cash\, laughing uncontrollably while the world around him burns (my reading\, anyway). The more things change... And herein may lie the biggest difference between the two shows (call it a generational/attitude shift). If \;$PENT \;encapsulated the uneasiness of the t ime\, \;HA HA! BUSINESS! \;relishes the discomfort with a huge grin on its face. \;

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The art world is now a global business\, of course\, as is just about everything e lse. Facebook\, Instagram\, Twitter and Skype have become our new living ro om\, our church\, our megaphone--and\, some would argue\, our toilet\, too. And\, it seems \;everyone \;wants to sit on the throne and be hear d. Life is now "all news\, all the time" and humor is the unifying force th at allows us to look in the mirror\, if for no other reason than to get a q uick reality check and\, hopefully\, a little truth. \;HA HA! BUSIN ESS! \;continues my quixotic interest in making sense of it all.\n

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Yes\, this is definitely a funny business! Ha ha.

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Yours\,< /p>\n

Luis De Jesus\, Los Angeles

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Opening Reception:

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Saturday\, June 27\, 6-8 PM\,

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Featuring Performance by \;LEX BROWN

DTEND:20150808 DTSTAMP:20150530T153348 DTSTART:20150627 GEO:34.0336485;-118.376251 LOCATION:Luis De Jesus Los Angeles\,2685 S. La Cienega Blvd. \nLos Angeles\ , CA 90034 SEQUENCE:0 SUMMARY:Ha Ha! Business!\, Valérie Blass\, Lex Brown\, Keren Cytter\, Zacka ry Drucker\, Juan Pablo Echeverri\, Ramiro Gomez\, Josh Reames\, Deb Sokolo w\, Federico Solmi\, Joseph Scanlan UID:385314 END:VEVENT BEGIN:VEVENT DTEND:20150627T200000 DTSTAMP:20150530T153348 DTSTART:20150627T180000 GEO:34.0336485;-118.376251 LOCATION:Luis De Jesus Los Angeles\,2685 S. La Cienega Blvd. \nLos Angeles\ , CA 90034 SEQUENCE:0 SUMMARY:Ha Ha! Business!\, Valérie Blass\, Lex Brown\, Keren Cytter\, Zacka ry Drucker\, Juan Pablo Echeverri\, Ramiro Gomez\, Josh Reames\, Joseph Sca nlan\, Deb Sokolow\, Federico Solmi UID:385315 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artists and curators in a panel disccussion \;addressing the scope and limitations of neoliberalism in relation to the works on vie w with guest Macarena \;Gomez Barris. \;

DTEND:20150601T200000 DTSTAMP:20150530T153348 DTSTART:20150601T190000 GEO:34.0675686;-118.2356123 LOCATION:Human Resources\,410 Cottage Home St. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Artist Talk:\, Sergio Acevedo\, Adrés Grillo\, Francisco Huichaqueo \, Hugo Leonello\, Mria José Rojas\, Angie Saiz\, Mario Z UID:385313 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mark Moore Gallery is pleased to present \;&ldquo\;Vernon Fisher: A Retrospective\," \;curated by Hugh Davies &ndash\; Director of the \;Museum of Contemporary Art in S an Diego (CA). For nearly forty-five years\, Fisher has been creating innov ative mixed media works that reckon with disjointed streams of consciousnes s and push the boundaries of post-modernism. Having exhibited widely since the late 1970s\, this retrospective presents hallmark works from various st ages in Fisher&rsquo\;s career\, and highlights his preoccupation with arch ive\, information transmission\, memory\, and taxonomy.

Drawing upon his early interest in how people make sense of the world\, Fisher weav es together literary references\, pop cultural imagery\, and cartography wi th his own symbolic lexicon. Renouncing the convention of a singular or aut onomous narrative\, his works imply a seemingly endless metonymic chain. Hu gh Davies first saw Fisher's work in the late seventies and was immediately impressed with the combination of conceptual rigor\, and consummate crafts manship. Davies\, along with co-curator Madeleine Grynsztejn\, organized a mid-career retrospective of Fisher&rsquo\;s work at the Museum of Contempor ary Art San Diego in 1989. In the accompanying catalogue essay\, critic Dav e Hickey stated that Fisher works in a kind of formula of &ldquo\;imperfect ly analogous juxtapositions of three imperfectly distinct kinds of phenomen a (the personal\, the social\, the natural)\, described by three imperfectl y distinct information systems (the literary narrative\, the iconographic i mage\, and the cartographic grid).&rdquo\; In viewing various works made ov er time\, these &ldquo\;imperfectly analogous juxtapositions&rdquo\; begin to form their own story\, revealing Fisher&rsquo\;s expertise in creating a unique and elusive narrative with a comic&rsquo\;s sensibility. \;

Vernon Fisher (b. 1943\, Texas) has been included in two Whitney Bi ennials (most recently in 2000). Museum installations include the Museum of Modern Art (NY)\, the Hirshhorn Museum (D.C.)\, and the Museum of Contempo rary Art Chicago (IL). Major public collections include: Albright-Knox Muse um\, Buffalo\, (NY)\, Art Institute of Chicago (IL)\, Baltimore Museum of A rt (MD)\, Corcoran Gallery of Art\, Washington\, D.C.\, Dallas Museum of Ar t (TX)\, Denver Art Museum (CO)\, Frederick R. Weisman Art Museum\, Minneap olis (MN)\, High Museum of Art\, Atlanta (GA)\, Hirshhorn Museum and Sculpt ure Garden\, Washington\, D.C.\, Krannert Art Museum\, University of Illino is at Urbana-Champaign\, IL\, Los Angeles County Museum of Art (CA)\, Moder n Art Museum of Fort Worth (TX)\, Museum of Contemporary Art Chicago (IL)\, Museum of Fine Arts\, Houston (TX)\, Museum of Modern Art (NY)\, Orange Co unty Museum of Art (CA)\, Phoenix Art Museum (AZ)\, San Antonio Museum of A rt (TX)\, Museum of Contemporary Art San Diego (CA)\, San Francisco Museum of Modern Art (CA)\, Solomon R. Guggenheim Museum (NY)\, Tucson Museum of A rt\, (AZ)\, Whitney Museum of American Art\, and The Walker Art Center\, Mi nneapolis (MN). The artist lives and works in Fort Worth\, TX.

DTEND:20150718 DTSTAMP:20150530T153348 DTSTART:20150618 GEO:34.0339839;-118.370736 LOCATION:Mark Moore Gallery\,5790 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:A Retrospective\, Vernon Fisher UID:385311 END:VEVENT BEGIN:VEVENT DTEND:20150618T210000 DTSTAMP:20150530T153348 DTSTART:20150618T190000 GEO:34.0339839;-118.370736 LOCATION:Mark Moore Gallery\,5790 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:A Retrospective\, Vernon Fisher UID:385312 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Announcing the Los Angeles boo k launch for: \;
The Experience Machine: Stan VanDerBeek&rsquo \;s Movie-Drome and Expanded Cinema \; \;
by Gloria Sutto n \; \;(2015\, MIT Press) \; \;

\n< p style="text-align: justify\;">With \;a screening of \; \; Stan VanDerBeek: The Computer Generation \;(1972\, dir. John \ ;Musilli) followed by a discussion between Gloria Sutton and Kerry Tribe. DTEND:20150529T210000 DTSTAMP:20150530T153348 DTSTART:20150529T190000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Book launch for The Experience Machine by Gloria Sutton UID:385310 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist Reception for Closing - Please join us...

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The artist will be in attendance on Sunday and refreshments will be served.

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DTEND:20150531T170000 DTSTAMP:20150530T153348 DTSTART:20150531T120000 GEO:34.064801;-118.2168067 LOCATION:LA Artcore Brewery Annex\,650 A South Avenue 21 \nLos Angeles\, CA 90031 SEQUENCE:0 SUMMARY:Wendell Dayton at the LA Artcore - Artist Reception\, Wendell Dayto n UID:385293 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150703 DTSTAMP:20150530T153348 DTSTART:20150613 GEO:34.0276049;-118.4678444 LOCATION:Patrick Painter Inc.\,Bergamot Station 2525 Michigan Ave. # B2\nSa nta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Dig?\, Henry Vincent UID:385271 END:VEVENT BEGIN:VEVENT DTEND:20150613T210000 DTSTAMP:20150530T153348 DTSTART:20150613T170000 GEO:34.0276049;-118.4678444 LOCATION:Patrick Painter Inc.\,Bergamot Station 2525 Michigan Ave. # B2\nSa nta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Dig?\, Henry Vincent UID:385272 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Nancy Monk

BRASS (or the order in which they present themselves)

While on a road trip in Minne sota\, I found a brass elephant in a second-hand store. It spoke to me like objects tend to do on occasion. The elephant traveled with me back to Cali fornia and years later initiated the Brass series of 18 X 24" paintings. Th e brass objects appear to be on a horizon line or a tight-rope. One view is grounded where the other view is precarious. Initially I did not see the e lephant painting as part of a series\, but new brass objects keep appearing \, like the brass Magi. He is part of my nativity scene that friends bought in a hardware store in Mexico. I unpack the scene every Christmas. After C hristmas\, I repack the decorations for storage. Somehow\, the wise-man fel l on the floor and didn&rsquo\;t get re-packed with the group. I imagined t hat he is the one carrying the gift of gold. After I painted the Magi\, a b rass pig appeared. While visiting my brother and his wife in Sun City\, Ari zona\, I found it on their bookshelf. Their granddaughter had wanted a real pig as a pet. As an alternative\, they had bought her the brass pig.

DTEND:20150711 DTSTAMP:20150530T153348 DTSTART:20150530 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Maybe\, Nancy Monk UID:385016 END:VEVENT BEGIN:VEVENT DTEND:20150606T180000 DTSTAMP:20150530T153348 DTSTART:20150606T160000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Maybe\, Nancy Monk UID:385017 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Michael Deyermond

thoughts on m y life and art

i dont know why people think being an artist is so much fun
does trying to save your life everyday sound like fun

not being understood and feeling out of place in the world makes me sad and lonely.
the words i employ and images i conjure in my work are my only chance for salvation.

because i am unhireable my commitment to art is unwavering

while the whole world is tryin g to think outside the box\, live off the grid\, do something spontaneous a nd live a life of adventure i would give anything to be safe inside that bo x with a little bit of heat\, something to eat and a smidgen of routine sec urity.


xo md

DTEND:20150711 DTSTAMP:20150530T153348 DTSTART:20150530 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:I Thought California Could Save Me\, Michael Deyermond UID:385014 END:VEVENT BEGIN:VEVENT DTEND:20150606T180000 DTSTAMP:20150530T153348 DTSTART:20150606T160000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:I Thought California Could Save Me\, Michael Deyermond UID:385015 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Murals are a familiar part of the Los Angeles landscape\, ho wever\, the public may be less familiar with the more intimate studio work of these highly visible artists. \; Such pieces\, although prized by in stitutions and private collectors\, often go unseen by the general public.& nbsp\; In 1990\, Couturier Gallery examined the studio work of five pioneer ing mural artists. Now\, 25 years later\, the gallery revisits those artist s alongside a new generation of painters with L.A. Muralist: In Their Studios II. \; They include: Christina Ang elina\, David Botello\, Pablo Cristi\, Wayne Healy\, Judithe Hern< strong>á\;ndez\, Alex &ldquo\;Defer&rdquo\; Kizu\, A ugustine Kofie\, Lydiaemily\, Kent Twitchell\, John Valadez and Richard Wyatt. \; L.A. Muralists: In Their S tudios II will run from June 6 &ndash\; July 18\, 2015. \ ; The artists&rsquo\; opening reception will be held\, Saturday\, June 6\, 6-8pm. \; Note that 10% of all proceeds will go to benefit the Mural Conservancy of Los Angeles (MCLA).

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T he importance of murals in society is not only for their artistic beauty\, but also the sociopolitical commentary they provide. \; DiegoRivera and others spearheaded the Mexican mural movement of the 1930s\, the political and aesthetic impact of which can still be appreciated today. \; In th e latter part of the 20th century\, Los Angeles saw a renaissanc e in mural projects with commissions along roadways\, in public lobbies and large-scale brand advertising on the exterior of commercial and residentia l spaces. \; Such public murals\, both old and new\, act as a visual ma rker for neighborhoods by reflecting its inhabitants and providing a sense of community and identity through the shared ownership of these iconic work s. \; \; \;

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The difference between thes e public works for which these artists are known\, and the work done in the ir studios\, is the more personal viewpoint in the latter. \; By their very nature public murals\, more often than not\, include a consensus of th ought beyond the control of the artist. \; By venturing into their stud ios we get a private glimpse behind the facade of these public artists and see the personal imagery and subject matter that resonates within and helps define them as the fine artists they are.

DTEND:20150718 DTSTAMP:20150530T153348 DTSTART:20150606 GEO:34.0754701;-118.3438827 LOCATION:Couturier Gallery\,166 N. La Brea Ave. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:L.A. Muralists: In Their Studios II UID:385005 END:VEVENT BEGIN:VEVENT DTEND:20150606T200000 DTSTAMP:20150530T153348 DTSTART:20150606T180000 GEO:34.0754701;-118.3438827 LOCATION:Couturier Gallery\,166 N. La Brea Ave. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:L.A. Muralists: In Their Studios II UID:385006 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For her upcoming exhibition\, Ja ime Scholnick takes on the serious and disturbing issue of the Israeli &ndash\; Palestinian conflict. During the months of July and August\, 2014\ , the Israeli army launched a systematic bombardment of the people of Pales tine. The term is known as &ldquo\;Mowing the Lawn&rdquo\; and is a periodi c &ldquo\;cleansing&rdquo\; of the Palestinian Territories (every 2-3 years ). There are many rationalizations for these acts\, which summarily kills i nnocent victims\, mainly women and children. Gaza\; Mowing the Lawn\, takes a cue from Picasso&rsquo\;s Guernica or Goya&rsquo\;s moving pain tings of the Spanish Civil War.

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&ldqu o\;Over the 50 days these latest &ldquo\;mowing the lawn&rdquo\; attacks oc curred\, I was getting dozens of horrific pictures sent to me over the inte rnet. They were graphic\, tragic and so incredibly sad. It was hard to look at them. I started drawing over them\, in part\, as a way to make myself l ook at the carnage and realize that this was happening to babies\, children \, women\, families. I felt that doing these paintings\, lovingly\, was my attempt at honoring these victims\,&rdquo\; says Scholnick.

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Scholnick&rsquo\;s paintings/collages became individ ual prayers allowing her to work through this incomprehensible period of vi olence she was being shown. The result is a series of 50 scenes captured du ring 50 days in the summer of 2014 in Gaza. As one is drawn into these indi vidual pieces you are seduced by the overall line work. Because it is now a rt\, it becomes easier to gaze upon the subject. One can uncover layers of reality\, wrapped in line.

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Scholnick adds\, &ldquo\;Someone asked me lately\, after looking at this series\, &ld quo\;whose side am I on?&rdquo\; My answer was simply\, &ldquo\;I am agains t ALL of it! There is absolutely no justification for this type of inhumani ty towards any human!&rdquo\;

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Jaime S cholnick received her MFA from the Claremont Graduate University in 1991. F rom 1994 &ndash\; 1999 she resided in Japan\, studying paper making and imm ersing herself in Japanese society. Awarded a paper making residency from T he Museum of Art\, Tokyo (1997)\, Ms Scholnick&rsquo\;s work has been inclu ded in exhibitions in Japan as well as Amsterdam and Berlin. Scholnick&rsqu o\;s work has been shown throughout the US and locally including CB1 Galler y\, Angles Gallery\, PØ\;ST\, The Torrance Art Museum\, Defamation of Character at PS1\, Cross-Cuts at Otis College of Art &\; Design\, Big P lastic at The Armory Center for the Arts\, and Guns and Knives\, Fahrenheit Gallery\, Kansas City\, MO. Her video short Hello Kitty Gets A Mouth has b een included in various film festivals such as The Santa Fe Film Festival\, Women In The Directors Chair Film Festival\, Chicago\, Kansas City Filmmak ers Jubilee\, Kansas City\, MO and The Silverlake Film Festival.

DTEND:20150718 DTSTAMP:20150530T153348 DTSTART:20150606 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Mowing the Lawn\, Jaime Scholnick Gaza UID:384852 END:VEVENT BEGIN:VEVENT DTEND:20150606T180000 DTSTAMP:20150530T153348 DTSTART:20150606T150000 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Mowing the Lawn\, Jaime Scholnick Gaza UID:384853 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CB1 Gallery \;is honored t o present the first Los Angeles/California/West Coast solo exhibition of&nb sp\;Jennifer Wynne Reeves \;works\, \; A Bolt of Soul: Grooved Foreheads and Dog Teeth\,&nbs p\;from June 6 &ndash\; July 18\, 2015\, at 1923 South Santa Fe Avenue\, Lo s Angeles\, CA 90021. This exhibition will coincide with the one-year anniv ersary of her passing on June 22\, 2014.

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The following text is from the BravinLee Programs press release for the ir Fall 2014 exhibition of works by Jennifer Wynne Reeves\, who had passed after a battle with brain cancer at the age of 51. It is reprinted with per mission:

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Jennife r Reeves&rsquo\; life was cut too short when she succumbed to brain cancer on June 22nd at the age of 51. Reeves is known for creating a body of paint ings\, drawings and photographs that speak to and confront formalist and hu manist dilemmas. But beyond her reputation and achievements in the art worl d\, Reeves enjoyed a considerable fan-base as a result of her astonishing F acebook presence where she chronicled and interwove her art and diaristic p rose\, living her life out loud\, inviting her followers to take pieces of her and receive inspiration.

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For better or worse Reeves was a painter&rsquo\;s painter. Whi le she achieved a great measure of commercial success in her too abbreviate d life\, Reeves was best known and respected by artists who recognized her powerful skills of blending painterly style and manipulating materials in a n alarmingly appealing way\, avoiding the pitfalls that push abstraction ag ainst representation. Reeves was able to mine life&rsquo\;s deeper underlyi ng enigmatic and elusive narratives and emotions by the taming of opposites . Combining color-field\, minimalism\, narrative painting\, process art and expressionism\, Reeves rejected low thread count\, muted\, mock solemnity.

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Reeves enjoyed solo exhibitions at Art &\; Public in Geneva\, Gian Enzo Sperone in Rome \, The Worcester Art Museum in Massachusetts\, and Max Protetch and Ramis B arquet in NYC. Her most recent solo show was at BravinLee programs in 2013. Reeves was also celebrated for her writing. She produced a graphic novel\, The Anyway Ember in 2008 and Soul Bolt a book of her set-up photography an d prose in 2012. In 2012 she was selected as a John Simon Guggenheim Fellow .

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The CB1 Gallery exhibition will be comprised of a selection of works from 2010-2014 in one large gallery &ndas h\; in addition\, a selection of works from Jennifer&rsquo\;s 1997 Plac e series (shown at the time of their creation at Lemberg Gallery\, Bir mingham\, Michigan\, and the title of her memorial exhibition at BravinLee Projects New York in September/October 2014) will be shown in our project g allery.

DTEND:20150718 DTSTAMP:20150530T153348 DTSTART:20150606 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:A Bolt of Soul: Grooved Foreheads and Dog Teeth\, Jennifer Wynne Re eves UID:384850 END:VEVENT BEGIN:VEVENT DTEND:20150606T180000 DTSTAMP:20150530T153348 DTSTART:20150606T150000 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:A Bolt of Soul: Grooved Foreheads and Dog Teeth\, Jennifer Wynne Re eves UID:384851 END:VEVENT BEGIN:VEVENT DESCRIPTION:

*ACME. is pleased to present a solo exhibition of new painti ngs by New York based artist Kurt Kauper.

DTEND:20150711 DTSTAMP:20150530T153348 DTSTART:20150606 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kurt Kauper UID:384848 END:VEVENT BEGIN:VEVENT DTEND:20150606T200000 DTSTAMP:20150530T153348 DTSTART:20150606T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kurt Kauper UID:384849 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150801 DTSTAMP:20150530T153348 DTSTART:20150628 GEO:34.0981241;-118.3359796 LOCATION:Overduin & Co.\,6693 Sunset Boulevard \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:Solo Exhibition\, Michaela Eichwald UID:384844 END:VEVENT BEGIN:VEVENT DTEND:20150628T200000 DTSTAMP:20150530T153348 DTSTART:20150628T180000 GEO:34.0981241;-118.3359796 LOCATION:Overduin & Co.\,6693 Sunset Boulevard \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:Solo Exhibition\, Michaela Eichwald UID:384845 END:VEVENT END:VCALENDAR