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A Preview of a Dozen Openings this Coming Week
by Sarah Lehrer-Graiwer

Eric Wesley at China Art Objects: New work by Eric Wesley, a beloved artist’s artist around these parts, is not to be missed. A not-new quote from him tells us: “Yeah, I think I am very productive, and what is eventually realized is a small fraction of the ideas, and what is seen is a small fraction of a small fraction. I don’t pay attention to keeping a tight studio. What sucks is the same few things are shown.” With Eric Wesley’s “The Same Ol’ Frontier,” we look forward to seeing a few new things. Opens September 10th.

Richard Jackson at David Kordansky Gallery: In his first solo show with the gallery, legendary painter Richard Jackson presents “The Little Girl’s Room,” an immersive painting environment modeled on a kid’s room. The result of precise engineering and experimentation, the installation centers on a large sculpture of a unicorn balanced on its horn that will spray and drip paint from its genitals as it spins. And that’s just the tip of the iceberg. Paint is always activated in Jackson’s universe so that the act of viewing may also be the act of getting dirty. Opens September 10th.

Bob Flanagan and Sheree Rose at Country Club: “The Wedding of Everything” will present sculpture, photographs, installation, and video by Bob Flanagan and Sheree Rose, focusing on Flanagan’s performance work and their collaborative efforts as artists and partners in life. A comic, writer, and musician in addition to a visual and performance artist, Flanagan (1952-1996), has been described as a supermasochist, having engaged in such extreme acts as hammering a nail through his penis. He also appeared in many disturbing music videos. He died at the age of forty-three from cystic fibrosis. Relating to the scope of Pacific Standard Time, this work is mostly unknown and rarely seen. Opens September 8th.

“The Long Range” at LTD Gallery: Taking a regional interest in work specific to the West Coast and the Western genre, this cross-generational group show brings together work by Dave Hullfish Bailey, Cindy Bernard, Ginny Bishton, John Divola, Anton Lieberman, Christopher Michlig, Karthik Pandian, and Jim Skuldt who is featured alone in “Phase One” of the exhibit which runs until September 18th. Opens September 8th.

Lee Mullican at Marc Selwyn Fine Art: Lee Mullican (1919-1998) is remembered for ecstatic patterned abstractions in his distinctly personal visual language that evinces a searching sensibility combining interests in mysticism, automatism, graphic authenticity, and ancient aesthetic forms. Pursuing what he called “invented worlds,” Mullican’s practice could pass as "outsider" for all its paintings’ and drawings’ obsessive visual focus and exuberance. He was a member of the Dynaton Group in the 50s before moving to Los Angeles in the early 60s where he lived the rest of his life, establishing influence as a teacher as well as artist. Promising to further correct this artist’s relative obscurity, this showing of Mullican’s “Important Paintings from the 1950s” participates in Pacific Standard Time’s regional and historic focus. Opens September 9th.

Lecia Dole Recio at Richard Telles Fine Art: Celebrated for her complex formalist paintings and collages layering abstract geometries, Lecia Dole Recio’s work has a graphic rigor and syncopation that gels. In this, her fifth solo show at the gallery, the artist moves to further reductiveness, emphasizing the acquired residual patina of her recycled and repurposed materials, like scraps of paint-splattered cardboard, that have cycled through her studio practice from year to year. Dole Recio here cites the influence of Jamaican studio-based dub reggae musician King Tubby who spliced together recordings of live sessions, creating analog archives and condensing his extended process over time. Opens September 10th.

“Photography into Sculpture” at Cherry and Martin: A reexamination and restaging of Peter Bunnell’s landmark 1970 exhibition of the same name that surveyed artists of the time working with “photographically formed images used in a sculptural or fully dimensional manner.” The exhibition included Ellen Brooks, Robert Brown, Carl Cheng, Darryl Curran, Jack Dale, Michael de Courcy, Karl Folsom, Andre Haluska, Robert Heinecken, Richard Jackson, Jerry McMillan, Bea Nettles, Ed O’Connell, James Pennuto, Joe Pirone, Douglas Prince, Dale Quarterman, Charles Roitz, Leslie Snyder, Michael Stone, Ted Victoria, Robert Watts, and Lynton Wells. While the gallery continues to try to contact a remaining handful of the artists, the majority of the exhibition’s original works will be shown here. This restaging is part of PST and will produce a new scholarly catalogue on the exhibition with a new interview, essays, documentation, and primary material. Opens September 10th.

“Sub-Pop” at Cardwell Jimmerson: Participating in the art historical re-evaluation of PST, this group show presents work by lesser-known California Pop artists: Vern Blosum, Robert Dowd, Doug Edge, Jim Eller, Phillip Hefferton, Leslie Kerr, Michael Olodort, Ben Sakoguchi, Jan Stussy, and Norman Zammitt. Once again, Cardwell Jimmerson expands the field. We’ve come to expect museum-quality shows here.

Edgar Orlaineta, Lee Lynch, Steve Bankhead, Botner & Pedro, Masood Kamandy at Steve Turner Contemporary: With five simultaneous shows by local and international artists opening at once, from the galleries to the roof, this is art viewing at its most efficient.

Richard Newton at Jancar Gallery: There will be videos and things from the 70s. The poster ominously says “Smell a Vagina.” Richard Newton, born in 1948, got his MFA from UC Irvine once upon a time where he studied with Ed Moses, Vija Celmins, Philip Leider, and Barbara Rose. I do not know about Richard Newton -- yet. Opens September 10th.

Frank Benson at Overduin and Kite: Benson’s exhibition will present “Human Statue (Jessie),” a single life-sized bronze sculpture of a woman on a pedestal. It is the counterpart to a similar male figure from 2009. Benson’s method unites the trappings of classical antiquity with 3D digital modeling technology based on scans of his subject. He astutely connects his project to influences including Robert Mapplethorpe, Patrick Nagel, Tilman Riemenschneider, and Blade Runner. Opens September 11th.

Sarah Lehrer-Graiwer, an artist, curator and writer living in Los Angeles.
Top Image: Lee Mullican, Smashing Canvas, 1967, Oil on canvas, 50 x 50 inches. Courtesy Marc Selwyn Fine Arts. 

Posted by Sarah Lehrer-Graiwer on 9/6/11 | tags: pacific standard time

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