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Los Angeles

Angles Gallery

Exhibition Detail
Between Known and Unknown
2754 S. La Cienega Blvd.
Los Angeles, CA 90034


April 13th, 2013 - June 22nd, 2013
Opening: 
April 13th, 2013 6:00 PM - 8:00 PM
 
Swoop Wave Bulge #2, Linda BesemerLinda Besemer, Swoop Wave Bulge #2,
2012, Acrylic on canvas over panel, 48 x 66 inches
© Courtesy of the Artist and Angles Gallery
Border Theory (rio grande/cobalt violet), Tony de los ReyesTony de los Reyes,
Border Theory (rio grande/cobalt violet),
2013, Dye and oil on linen, 45 x 31 inches
© Courtesy of the Artist and Angles Gallery
Next to the Last Exit #3  , ADAM ROSSADAM ROSS, Next to the Last Exit #3 ,
2013, Oil, alkyd, and acrylic on canvas over panel, 23 x 21 inches
© Courtesy of the Artist and Angles Gallery
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> QUICK FACTS
WEBSITE:  
http://www.anglesgallery.com/
NEIGHBORHOOD:  
culver city/west la
EMAIL:  
info@anglesgallery.com
PHONE:  
310.396.5019
OPEN HOURS:  
Tue-Sat 10-6
> DESCRIPTION

Angles Gallery is pleased to present Between Known and Unknown, featuring new paintings by Linda Besemer, Tony de los Reyes, and Adam Ross.  The exhibition will be on view April 13th through May 18th with a reception for the artists on Saturday, April 13th, 6-8 PM.

Radical depictions of space have occupied painters for centuries, alternately enhanced and hindered by the expansions and limitations of science and knowledge. Works by the three artists presented here confront the viewer with related yet distinct strategies for depicting space and "space." The viewer will be challenged by optical illusions, perceptual shifts, representational slippage, and finally, spatial levels that transform the canvas into a transparent window, the interplay of surfaces.

Linda Besemer, renowned for her deft use of color and geometric abstraction, continues to refine her characteristic point of view that unites the color theories of 20th century modernism with the plasticity of 21st century design. The complex simplicity of the optical effects vibrates and swells. Tony de los Reyes, exhibiting at the gallery for the first time, confronts the viewer with a radical reinterpretation of the pouring and staining techniques that he has made so much his own for more than a decade. The new canvasses address absolute space transformed to abstract space that is contained and ordered, yet tactile and provocative. Adam Ross is represented by a new body of work that returns to the intimate scale of his earlier years. Brimming with vast expanses of space and diminutive suggestions of architecture, the glossy surfaces pull the viewer into a world of spectacular depth and clarity.


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