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Los Angeles

Luckman Fine Arts Complex

Exhibition Detail
Glue, Paper, Scissors
Cal State LA
5151 State University Dr.
Los Angeles, CA 90032-8116


April 4th, 2009 - May 23rd, 2009
 
Glue, Paper, Scissors , Glue, Paper, Scissors
> ARTISTS
> QUICK FACTS
WEBSITE:  
http://www.luckmanarts.org/gallery/
NEIGHBORHOOD:  
san gabriel valley
EMAIL:  
luckmangallery@luckmanarts.org
PHONE:  
323.343.6604
OPEN HOURS:  
Mon-Thu, Sat 12-5
TAGS:  
collages, paper, abstract, modern
> DESCRIPTION
The exhibition includes artists Dan Bayles, Mark Bradford, Kent Familton, Joyce Lightbody, Candice Lin, Jason Meadows, Justin Michell, Aaron Morse, Eamon Ore-Giron, Meaghan Reid, Nils Schirrmacher, Alexis Smith, Frances Stark, Rosha Yaghmai, and Brenna Youngblood.


Dan Bayles explores the relationship between art and architecture. By mixing photographs, tape, paper, and paint into semi-abstract works, he questions the political ramifications of specific landscapes and architectural structures.
Mark Bradford transforms materials scavenged in the streets, including remnants of posters and billboards, as a way to create a new form of cultural mapping and comment on underground economies and migrant communities. 
Kent Familton deals with formal concerns of abstraction and the paired down semblance of minimalism in his work. He balances geometric specificity and painterly spontaneity in deliberate constructions of color, line, space and form.
Joyce Lightbody's collages reveal her long-standing interest in world travel, map-making, music, and poetry. Her pieces often involve notional structures-musical, cartographic, and linguistic.
Candice Lin creates fantastic environments in her drawings and videos, populated by characters that are drenched in aberrant sexuality and involved in scenarios of pleasurable horror.
Jason Meadows responds to advertising and pop culture references by manipulating existing imagery and playing with color, form and framing. In doing so, he creates pieces that are formally and psychologically layered.
Justin Michell's retro-futurist landscapes are situated on the border between integrated utopia and heterotopic dysfunction. The architectural structures in his work suggest a better way of living and appear to be furnished with objects from a kind of sci-fi Sears catalog. 
Aaron Morse considers the consequences of hubris, greed, and interpersonal relations in his work. 
Natural and man-made conflict unfolds, often within the context of sublime landscapes.
Eamon Ore-Giron's engagement with music and sound is a central force in his visual work. By manipulating the graphics or record covers that accompany music, or by appropriating and manipulating lyrics, he draws attention to forms of cultural resistance and improvisation in both music and visual art. 
Meaghan Reid's collages examine the history of nomadic people. She focuses on those who travel indefinitely by choice, and those who have been forced into a nomadic existence due to war, economic crises, or natural disaster.
Nils Schirrmacher's photomontages address ideas of spiritual destiny, isolation, elation, and brutality asserted by the totalitarianism of Nazi Germany and the utopianism of late 19th and early 20th century California colonies.
Alexis Smith combines found and discarded objects such as maps, vintage magazine covers, and amateur paintings, calling meaning and the cultural and historical significance of such objects into question. 
Frances Stark often uses words or phrases as visual motifs in her compositions. Fragments of language by well-known writers, typed text, handwritten notes, and pieces of mail mesh with other graphic elements in emotive and highly personal collages.
Rosha Yaghmai renders social and cultural identity as an elastic and dynamic material in her work, which often references popular culture, current events, and political histories. 
Brenna Youngblood collages and combines her own photographs in painted grounds to create elusive and richly layered narratives. Abstraction and representation intermingle as everyday objects and familiar spaces are re-contextualized.

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