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Exhibition Detail
“Monster Mongers and Retailers of Other Strange Satellites”
2640 S. La Cienega
Los Angeles, CA 90034

June 27th, 2009 - July 8th, 2009
June 27th, 2009 7:00 PM - 9:00 PM
culver city/west la
Tues-Sat 11am-6pm
Irvine, Studio Art, University of California Irvine
sculpture, abstract, landscape, pop, conceptual, performance, video-art, installation, digital, photography, mixed-media
free and open to the public

“Monster Mongers and Retailers of Other Strange Satellites”

An Exhibit of University of California, Irvine, 2009 MFA graduates in Studio Art: Arielle Bivas, Marcus Civin, Laurel Frank, kate hers, Dong Hoon Jun, Jared Nielsen Jen Smith, Sean Sullivan, Grant Vetter, Maya Weimer, and Morgan Wells


June 27-July 8, 2009

Opening Reception: Saturday June 27, 7-9 PM


2640 S. La Cienega Blvd. Los Angeles, CA 90034


LAXART is open Tuesday through Saturday 11am – 6pm. Closed July 4.



LAXART is pleased to present “Monster Mongers and Retailers of Other Strange Satellites,” which will showcase works by University of California, Irvine, 2009 MFA graduates in Studio Art—Arielle Bivas, Marcus Civin, Laurel Frank, kate hers, Dong Hoon Jun, Jared Nielsen Jen Smith, Sean Sullivan, Grant Vetter, Maya Weimer, and Morgan Wells. The artists in this exhibition work in the disciplines of photography, video, performance, installation, sculpture, drawing, and painting, and engage with subjects that range from identity, language, and architecture, to the body, institution, and globalization. A performance by Civin will be featured during the reception on June 27 at 7:30 p.m.

Students from unique backgrounds and experiences seek out UCI's rigorous three-year MFA program, which emphasizes experimental and interdisciplinary approaches to art making within an intellectual and theoretical framework.


Please visit to preview work by the artists exhibiting in “Monster Mongers and Retailers of Other Strange Satellites.” 


Arielle Bivas’ video installations point to the imperfect translation of visceral sensations, recounting embodied memories and exploring intimacy and trauma.


Marcus Civin’s text-and-prop-driven performance, “Bounty”, articulates individual justifications for violence. Mural-size black-and-white photographs reminiscent of silent film intertitles caption elaborate scenarios for actions such as boiling off water reserves hidden in silver bottles, or chopping up underground stores of packaged food with axes cast from plaster and dried orange peels.


The sculpture and installation pieces of Laurel Frank rework the use of artifice as it pertains to issues of infectious taste and synthetic pleasures in an economy of excess. Frank’s engagement with rocks as tropes of class position double as a short hand for achieving the American dream, i.e., harnessing the wild frontier, domesticating nature, moving mountains!


kate hers combines Hegel’s notion of Other as it relates to self-perception with Edward Said’s post-colonial Other. NOH-CHIM (Missing) is a performative, autobiographical video, which addresses the problematic transmissions between languages, and the rupture between yearning and reality. Interlaced with art performances and interventions, text from her adoption documents, and a national television search for her birth family, the video investigates the process by which the artist was adopted.


Dong Hoon Jun’s photographs balance humor and melancholy, consider how to be human within institutional architectural gestures, and find brief moments when certain gestures—whether physical or intellectual—can suggest a hidden world of fancy or fantasy.


Jared Nielsen is constructing a postsustainable future from the shit pile of the present.  


Jen Smith uses handicraft and domestic materials to re-imagine the pomp and ceremony of wartime banners ─ shuffling the letters of “Mission Accomplished” into new texts such as “Cold Icon Piss Shammie” and “Oh Dismal Cosmic Penis.” Stills from “The Wound and the Voice,” explore the erotics of heroic mythologies, as exemplified in photographs from Abu Ghraib.


Through highly detailed and pristinely rendered drawings, Sean Sullivan, directs the gaze to contemporary nature morte. His largest work to date, “Anne Darwin's Stump,” describes the impasse between population explosion and limited resources.


The abstract paintings of Grant Vetter consider American abstraction intertwined with a culture of violence. Vetter uses paint to imitate the look and texture of torn flesh, to allude to the tragic conditions of the current “war on terror,” and to the history of oppression related to the American military industrial complex.


Maya Weimer’s videos create new representations of diasporic and postcolonial identities. "New Seoul Cartographies," a poetic meditation on South Korea's national re-addressing initiative, maps memory, history, place and displacement.


Morgan Wells is a multidisciplinary artist who uses a never-ending list of materials that create a unique combination of different artistic ideologies. With a distinct sense of humor, his artworks are built around monumental installations that act as both a constructed space, and as a singular object. At LA>



When: June 27-July 8


Opening reception Saturday June 27, 7-9 PM







LAXART is open Tuesday through Saturday 11am – 6pm. Closed July 4.



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