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Los Angeles

Margo Leavin Gallery

Exhibition Detail
ROY DOWELL, JOHN M. MILLER, BRENNA YOUNGBLOOD
812 N. Robertson Blvd.
Los Angeles, CA 90069


November 19th, 2009 - February 1st, 2010
Opening: 
November 19th, 2009 6:00 PM - 8:00 PM
 
,
© Courtesy of the Artist and Margo Leavin Gallery
> QUICK FACTS
WEBSITE:  
http://www.margoleavingallery.com/
NEIGHBORHOOD:  
west hollywood/b.h.
EMAIL:  
mail@margoleavingallery.com
PHONE:  
310.273.0603
OPEN HOURS:  
Open by appointment through 2013
TAGS:  
collages, photographic, installation
> DESCRIPTION

Margo Leavin Gallery is pleased to announce three installations of work by Roy Dowell, John M. Miller,
and Brenna Youngblood. A re-installation of selected new collages from Dowell’s most recent
exhibition will be shown in the main gallery. Miller’s paintings and Youngblood’s collages, many of
which are being shown for their first time here, will be exhibited in the side galleries.

Dowell has combines his precise painting technique with elements from printed materials, composing
collages that are at once abstract and, in part, representational. In his new collages, Dowell has
chosen to depart from his traditional inclusion of ready-made materials, such as scraps from billboard
ads or commercial signage, in favor of painting or drawing most of the assembled components.
Whereas previously Dowell’s collages often related to one another through shared printed or painted
elements, each of the artist’s new works has a decidedly more individualistic approach toward
exposing and reframing the fabric of our visual language.

John M. Miller’s work consists of a continuum of highly structured paintings that are both masterful
and relentless in their execution. These works present to viewers an open door to revelatory
perceptual nuance. What may appear at first glance to be optical agitation is, upon further study,
thoroughly considered, calm, still and serene. These paintings are urgent, all-consuming in their
presence and yet somehow steady and grounded; they are confident in their own existence as
perceptual conduits and conceptual essays.

Youngblood collages and combines her own photographs in painted grounds to create richly layered
panels of fractured and elusive narratives. Her methods obscure photographic meaning and challenge
the representative power of her selected images; context is altered and significance shifts as
Youngblood manipulates the everyday objects and familiar settings in her photographs. Abstraction
and representation intermingle in these visually arresting and complex panels, evoking the moments,
objects, and spaces shared in our collective memory.


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