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Los Angeles

Arena 1 Gallery

Exhibition Detail
Illiterature
Curated by: Mark Carter
3026 Airport Avenue
Santa Monica, CA 90405


February 14th, 2009 - March 21st, 2009
Opening: 
February 21st, 2009 6:00 PM - 9:00 PM
 
, Stephanie LempertStephanie Lempert
, Linda HutchinsLinda Hutchins
, Duston SpearDuston Spear
, Masako TakahashiMasako Takahashi
, Pamela BirminghamPamela Birmingham
, Mark Lawrence StaffordMark Lawrence Stafford
, CODY TREPTECODY TREPTE
Superman 131.12, Wolfgang HerboldWolfgang Herbold, Superman 131.12,
2001, Lambda print/Diasec on Forex, 47x 67 inches
Say Some Words, John HimmelfarbJohn Himmelfarb, Say Some Words,
2008, brush and ink on paper, 81.5 x 41.75 inches
Language Drawing Series, Ancient Script II, Pamela BirminghamPamela Birmingham,
Language Drawing Series, Ancient Script II,
2007, ink, Xerox transfer, Mylar, paper , 16 x 10 inches
wreading 1, (Edmund Jabes), Linda EkstromLinda Ekstrom, wreading 1, (Edmund Jabes),
2003 , ink on paper, 11 x 14 inches
Rumination (Red Caution), Linda HutchinsLinda Hutchins, Rumination (Red Caution),
2003, typing on paper, 8.5 x 90 inches
Language of Space Series, Forsythe & Grand, December 18, 2006, Stephanie LempertStephanie Lempert,
Language of Space Series, Forsythe & Grand, December 18, 2006,
2007, archival inkjet print , 30 x 20 inches
Incunabula 1, Larissa NowickiLarissa Nowicki, Incunabula 1,
2008, hand-woven book pages, letterpress and cotton thread, 8.5 x 11 inches
Evaporate, Megan MurphyMegan Murphy, Evaporate,
2008, oil and photo on glass, 5 x 8 inches
"Untitled" from "Lost Thoughts" series, Mike PattenMike Patten,
"Untitled" from "Lost Thoughts" series,
2006, Archival ink-jet print from Palm-Pilot drawings, 12 x 31.5 inches
Whites, Duston SpearDuston Spear, Whites,
2005, oil on Fabriano paper, 22 x 30 inches
Drift 24, Mark L. StaffordMark L. Stafford, Drift 24,
2007, typewriter ink on paper, 9 x 9 inches
Cody on Cage on Joyce, CODY TREPTECODY TREPTE, Cody on Cage on Joyce,
2008, CD and projected image, dimensions variable
Fibonacci Scroll, detail, Masako TakahashiMasako Takahashi, Fibonacci Scroll, detail,
2008, Human hair embroidery on silk panel, 14.5 x 52 inches
Untitled: The Name of Every Movie Ever Released in the United States, Greg MilneGreg Milne,
Untitled: The Name of Every Movie Ever Released in the United States,
2008, archival inkjet on photo paper monunted on rag and foam board, resin, 66 x 66 inhes
Untitled (Lemon), detail, Yael KanarekYael Kanarek, Untitled (Lemon), detail,
2008, Laser-cut rubber, glue, 42 x 42 inches
Untitled (Reconstruction 3), Jill SylviaJill Sylvia, Untitled (Reconstruction 3),
2009, Hand-cut Ledger Paper and Matte Board, 6.5 x 6.5 inches
Untitled, Dan MillerDan Miller, Untitled,
2007, ink and paint on paper, 22 x 30 inches
1/08/2008, Michael Joaquin GreyMichael Joaquin Grey, 1/08/2008,
2008, ink on paper, 14 x 17 inches
ASCII History of Moving Images (Psycho), Vuk CosicVuk Cosic,
ASCII History of Moving Images (Psycho),
1999, DVD video
Your Space #1, Ed RuschaEd Ruscha, Your Space #1,
2006, Sugar lift flat bit with hard ground etching, 25 3/4 x 29 inches
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Arena 1 Gallery is pleased to present “Illiterature, a group exhibition curated by Mark Carter, which will present works in various media that utilize text and text-like imagery for visual, graphic, illustrative and contemplative ends rather than a literal dialog.

Humans develop the propensity to recognize and read text in childhood. Our malleable brain, when introduced to the composition of written language, imprints the concept that symbols scribed in lines ought to be read. Language is one of our inventions and essential in a socially organized species enabling communication to be preserved and to evolve trans-tribally. Calligraphic imagery became the basis for encoding references.

These artists enjoy exploiting our brain’s intent to make this association. Linear meanderings incite tension as we strain to make sense of what we see. Doodles are read as possible hieroglyphic icons. And true text, visually comforting because of its familiarity, has become classic compositional tools of illusion as well as illustration.  Perhaps the range of subject types from the absolute of the landscape and portrait through abstraction and minimalism needs to expand and include nouns and verbs. While it’s clear that these artists exhibit a love of language, they prefer to keep it at arms length.


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