Black Rabbit, White Hole

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Coral, 2010 Chromogenic Print 16.5 In. X 11 In. © Courtesy of the Artist and Samuel Freeman
Icon, 2010 Painted Wood 54in. X 36in. X 36in. © Courtesy of the artist and Samuel Freeman
Path of Most Resistance, 2013 Bone, Shoe Laces, Fabric 16in. X 28.5in. © Courtesy of the Artist and Samuel Freeman
Black Rabbit, White Hole
Curated by: Amy Thoner

2639 South La Cienega Blvd.
Los Angeles, CA 90034
March 2nd, 2013 - April 6th, 2013
Opening: March 2nd, 2013 6:00 PM - 9:00 PM

culver city/west la
Tue-Sat 11-6 or by appointment


Samuel Freeman is pleased to present Black Rabbit, White Hole, a group exhibition featuring artists based in and outside of Los Angeles.  Spanning photographic, painting, sculptural, and mixed media works, the exhibition takes on—and reverses—the common literary tropes of the black hole and the white rabbit.

Much has been said about black holes.  As a conundrum of space-time and literary metaphor, it is well accepted that a black hole pulls light and matter into eternal oblivion.   Far more perplexing than the black hole’s endless void, however—and almost never referenced—the theoretical 'white hole' is its perfect inverse, with matter and luminescence endlessly escaping, but no point of entry or starting point for that light, whatsoever.  In a similar fashion, within the realm of magic, folklore and symbology, the rarely mentioned black rabbit gets overlooked in favor of its docile, omnipresent white counterpart, yet should be considered a more intriguing foil.  Fast, elusive, sometimes ominous, and easily camouflaged into darkness, the black rabbit is slippery.

Attempting to tonally capture this intuitive mid-moment between inversion of logic and poetic switch, the exhibition Black Rabbit, White Hole combines works that embrace, reverse or subvert metaphorical, logical, or material understandings of lightness, darkness, reflection and disappearance.  Equally represented is work that is bound to binaries, inverse relationships, or bipolarities.   The exhibition's numerous photographic works  probe zones of abstraction, medium-specific experimentation, conceptual or art-historical commentary, and photography’s relationship to sculpture and painting; John Divola’s Dark Star C and Barbara Kasten’s Studio Constructs preside as key touchstones for a younger generation’s rampant exploration of the photographic.   Mono- and bichromatic paintings crystallize current tensions between the allure of photomechanical/digital processes and the painterly gesture; and sculptural works of primitive geometries and humble or natural materials set up a dialogue between the roughly handmade/idiosyncratic and the highly polished or reductive.  Placed together, these works elicit moments that are at once shadowy, luminous, and intuitively complex.