MultiCity: April 2 - April 20
Creative diversity among L.A. photographers. An official exhibit for Month of Photo LA (MOPLA.org)
Artists include: Ryan Schude, Dan Busta, Darren Saravis, Echo Lew, Jerry Uelsmann, Marco Gualtieri, Gwen Adler, Teresa Flowers, Mark Hanuaer, Calethia DeConto, Garret Suhrie, Domenico Foschi, Renée Jacobs, Susie Loucks, Harry Wilson.
Monster Photo Gestalt: April 16 - April 30, 2016
Curator and artist Airom creates a surreal landscape populated by monsters in this exhibit featuring a large scale collage using the works of many photographers. Detailed imagery of human and animal body parts are assembled into composite creatures that inhabit a world built from landscape photography. Come take a walk through this unique habitat of imaginative flora and fauna.
Artists Include: David Dumo, Marcus DeSieno, Lori Pond, Debra Behr, Nabil TAZI, Lauren K Barwood, Cameron McIntyre, Maureen Haldeman, Susan Mac, Allan Peach, Heather Roessler, Allyson Marie, Mara Zaslove, David Skernick, Robin Cohen, Amy Kanka Valadarsky, Mitch Cullin, Federico, Clea Jones, Bernard Wolf, Fong Lien, Organa Meets, Airom, Susie Loucks, Leonard Monje, Ip Hoi Wan, Robert Zagorski and more to be announced.
photo: Darren Saravis, The people's republic of china law for the prevention of water resources pollution
#G8A / 310-906-4211 / bGartdealings.com
Building Bridges Art Exchange (BBAX) is a non-profit (501) (C3) contemporary art organization. Our mission is to help cultivate cultural understanding through the arts. We work to engage local communities and contemporary artists across the globe by facilitating workshops, educational programs, international art exchanges and artist residencies. We work in partnership with museums, galleries, Ministries of Culture, cultural art centers, art organizations and foundations from around the world—at present over 17 countries.
. . .
BUILDING BRIDGES ART EXCHANGE
BBAX INTERNATIONAL ARTIST PROGRAM
Alessandro Cardinale / Angel Ricardo Ricardo Rios / Mohamed Abouelnaga / Petra Eiko / Mostapha Romli / and more...
SATURDAY, MAY 21ST - THURSDAY, JUNE 30TH
. . .
Join us at
BUILDING BRIDGES ART EXCHANGE
to welcome our NEW artists in residence
Building Bridges Art Exchange welcomes our newest artists-in-residence,
Samira Nowparast of Iran and Marco Miranda of Mexico
to produce a new body of work in situ at BBAX Gallery.
Join us to view the artists in action!
BUILDING BRIDGES ART EXCHANGE
2525 Michigan Ave, Unit F2, Santa Monica
Focusing on museum quality installations showcasing emerging artists, Copro also exhibits many established and master painters. Placing works in museums and private collections throughout the world, Copro strives to assist collectors new and experienced in building the most exciting collections possible.
Othello/Desdemona by Charles A. Duncombe
April 15—May 29, 2016 / Fridays, Saturdays @ 8:00pm; Sundays @ 3pm (no performance Sunday, May 15)
Box Office: 310-453-9939 or purchase tickets online: www.brownpapertickets.com/event/2532962
Othello, in the midst of an identity crisis, examines and rejects his status as a servant of the Venetian State. Hungry for political power, he experiments with the idea of self-identifying as white. Desdemona, a Lolita trapped in a caged bed, is a spoiled brat with a mind of her own and a hunger for fame. She’s still deeply in lust for the lover she’s lost, while he struggles with racism and white privilege. Egged on by Iago, hovering like a punk-rock bird of prey, and a sassy, transgender Emilia, this is a love story that, just as in Shakespeare, is going to end badly.
Fourth Sunday Q&A
After the Sunday, May 8 matinee, please join us for an informal discussion with the cast and creative staff of City Garage’s Othello/Desdemona.
Visit www.citygarage.org/ for more information.
John Humble: DTLA
Dan McCleary: Small Works
Javier Carrillo, Roberto Ortiz, Jairo Perez: Work from Art Division Print Collective
Gilbert "Magu" Luján: Works on Paper
May 28 - July 2, 2016
Reception: Saturday, May 28, 5-7pm
Gallery Talk with the Artists: Saturday, June 4, 11am
"When did it stop being fun?"
Pamela Mayers Schoenberg
April 16 - June 11, 2016
Opening Reception, Saturday April 16th, 6-8pm
This exhibition explores the emotions of children as they progress through their education. At the start of a child's formal education there is excitement, enthusiasm and a love of learning. The young student is eager to learn and is pleased to be in this new setting. But, as children age, things change. Kids become sleep deprived and lack adequate nutrition, trying to keep a balance. Many become extremely focused on academic scores and grades.
Including children artist: Drawings= Hannah Ascher, Macabee Ascher, Jonah Danesh, Breyden Javaheri, Rhiana kassin, Chloe Nissanoff , William Quintero, Nathan Remeny, Yosha Reiss, Joey Schoenberg, Cameron Singer, Misha Nehorai Tome ,Sheridan Weiss, Sloan Weiss, Abbie Youssefzadeh; Selfies= Anja Clark , Sydney Garnett, Cailee Grayhorse-Pupecki, Kala Fejzo, Mila Fejzo , Nina Juarez, Jade Nakash, Dahlia Trilling, Aidan Schechter, Noah Schechter , Dora Schoenberg, Nathan Schoenberg, Desiree Shadi, Sam Zukin; Video= Dora Schoenberg
And original documentary photographs by Lewis Hine
Portraits of Africa
APRIL 21, 2016 - MAY 28, 2016
Reception for artist: Thursday, April 21, 7-9 pm
Duncan Miller Gallery presents Russian photographer Anton Lyalin's first west coast exhibition. Lyalin has spent months in Africa photographing big game in the wide open plains of remote Africa.
Curtis Hoekzema "Paintings
at FIG, May 25 - June 25, 2016. Reception, June 4, 5 - 7 PM.
The first thing most people will notice about the paintings of Curtis Hoekzema is his distinctively unique style. Using his keen talent for focused observation and witty interpretation, Hoekzema has a natural sense when it comes to capturing the essence of his subject. In this exhibition Hoekzema explores a wide variety of subjects, often revisiting works begun earlier, and it is fascinating to see how the artist’s mind works. Angelenos familiar with the Arroyo Seco parkway will immediately recognize how Hoekzema is able to portray the experience of driving along that iconic freeway landscape. A cat lounging in the shade of a tree is the inspiration for investigating the patterning of light and shadows through the foliage and the hatch marks of the tree bark. Blossoms and flower petals, still lifes, bulbous rock formations, studio figure models, all pass through the artist’s eye and are stripped down to shape, pattern and color, the essential building blocks of Hoekzema’s paintings. These are quirky, cheerful and immensely likeable works that will appeal to anyone who appreciates the art of painting.
Fernando de Szyszlo Sombras y Sueños
May 28 - July 2, 2016
Artist Reception, Saturday, May 28th, 6 - 8 PM
Suite E2, Tuesday - Saturday 11 - 6 PM
Latin American Masters is pleased to present, Sombras y Sueños, recent paintings by Fernando de Szyszlo (Peru b.1925). Widely regarded as one of Latin Americas most important living artists, Szyszlo’s paintings are a synthesis of the historical avant-garde and Pre-Hispanic cultures. He painted in Europe from 1949 to 1955, where he met Andre Breton, Rufino Tamayo and Octavio Paz, among others. Upon his return to Peru, his international reputation was established by a series of major exhibitions, including: The Emergent Decade, Solomon R. Guggenheim Museum, New York (1966) and Latin American Art Since Independence, Yale University Art Gallery, New Haven (1967). Szyszlo is a key figure in the evolution of post-war abstraction. His paintings, though formally compelling and fully conversant with the history of art, inhabit an atavistic and visionary universe.
May 17 - Jul 23
Reception: May 21, 1-4pm
“Cendrillon” -- French for “Cinderella” -- is perhaps synonymous with fantastic transformation. Much like the iconic fairy tale, Houston-based artist Cara Barer’s process is rooted in dramatic change. Using the pages of discarded novels, phone books, dictionaries -- even a Windows 95 user manual, Barer’s materials are repurposed from neglect.
Pages are dyed, ruffled and carefully arranged in circular forms, their bindings elegantly twisted. Echoing spiritual mandalas or blooming flowers, these altered pages are reborn as vibrant sculptural objects before being photographed. “I arrive at some of my images by chance and others through experimentation. Without these two elements, my work would not flow easily from one idea to the next.” In works like "Cendrillon", pages are fancifully curled as brightly colored illustrations peek from the shadowed folds - a hint of its former life. Other works like "Indigo" are skillfully dyed, rich in shades of deep blue with pages opened in a seemingly swift motion, creating a cover-to-cover circle.
Transformed by color and arrangement, these books are equipped to take on new meanings as sculptural objects that are photographed and printed at a large scale - blurring the lines between object, sculpture, and photography. Through this transformation and documentation, Barer meditates on obsolescence and the relevance of libraries and the printed page in this century. “Books, physical objects and repositories of information, are being displaced by zeros and ones in a digital universe with no physicality,” says Barer.
CENDRILLON records the transition of books from ubiquitous staples of information, to passing ephemera in an increasingly digitized world. Barer’s works are part archival and part still life studies that question the future of the printed text.
Cara Barer (b. 1956) lives and works in Houston, Texas. She studied at the Art Institute of Houston, the University of Houston and the Glassell School of Art. Barer has been represented in numerous exhibitions across the U.S. and Canada. Her work has been reproduced in several publications, including Art Made From Books: Altered, Sculpted, Carved (Chronicle Books, 2013), New York Magazine, Photonews, and The Houston Press. Barer’s work is featured in several private and public collections, including VISA, UCLA Special Collections, Danielle Steel, Bloomingdale’s, Lehigh University, Nordstrom, Nationwide, Wells Fargo Bank and the Museum of Fine Arts, Houston, among others.
For more info: email us at email@example.com.
Visit LILLA BELLO in Bergamot Station. Fresh, daily florals, event and wedding styling, and a specially curated lifestyle shop await in F1b
STRAIGHT FROM CUBA
A WOMAN’S PERSPECTIVE
ALICIA DE LA CAMPA PAK, LAURA CARRALERO MORALES, BELSY COBIELLAS CRUZ, LISANDRA ISABEL GARCIA, ADISLEN REYES PINO
May 14th, 2016 – July 10th, 2016
Opening reception Saturday, May 14th, 6-9pm
Last year’s widely acclaimed "Straight from Cuba" exhibition at the Lois Lambert Gallery showcased three male Cuban artists. Beginning May 14th, and continuing through July 10th, the Gallery will present a follow-up exhibition including the works of six female Cuban artists titled “Straight from Cuba: A Woman’s Perspective.” This group exhibition features work by Alicia de la Campa Pak, Laura Carralero Morales, Belsy Cobiellas Cruz, Lisandra Isabel Garcia, and Adislen Reyes Pino.
Each artist's work reflects Cuba’s current cultural and political concerns, social dynamics and gender issues. Female artists are challenging the meaning of "feminine", by exploring the stereotypical attributes so often applied to them.
BELSY COBIELLAS CRUZ paintings are scenes that often include interactions from daily life as well as mythological characters. Often in her paintings she will use old colonial decorative elements to create the patterns that she paints. Cruz has intently developed a feminine aesthetic. Cruz paints with bright colors like violets or pinks and is inspired by domestic themes; daily life in Cuba, Cuban folk stories, her own dreams and the interactions between her children. She begins painting on the canvas directly with acrylic paints in ochre and sepia tones. Cruz uses a monotype technique in which she paints on the glass and presses it against the canvas, always leaving some of the raw canvas exposed in parts of the drawing. Due to the fast drying nature of acrylic, she has to move quickly over the canvas moving back and forth between drawing and painting.
Belsy Cobiellas Cruz comes from a family of artists and art professors. Her father is an artist. Cruz herself went to study at a Vocational School of the Arts at 11 years old. She graduated from the Academy of San Alejandro in Havana, Cuba with a degree in art focusing on painting. Cruz has had a long career as an exhibiting artist in Cuba and has participated in several exhibitions in Europe.
LAURA CARRALERO MORALES is in love with architecture. Morales believes that when we visit a place for the first time our senses leave us with unique emotions that can’t be experienced again. Immediately after an initial visit, Morales begins to paint in an effort to capture the feelings she experienced in that virgin moment. In her “Catedrales” series, Morales paints over the blueprints of Gothic cathedrals. The juxtaposition of painting and architecture highlights the relationship between the organic and the structural.
Laura Carralero Morales is a young artist from Cuba. In 2015, Morales earned a Masters of Fine Arts from the Instituto Superior de Artes. She has participated in several solo and group exhibitions in Havana. This is her first exhibition outside Cuba.
LISANDRA ISABEL GARCIA is a mixed media, installation artist and painter. The paintings in this exhibition are part of a series that takes from the tradition of using the female body as a representation of the sensual. The artist explores the contrast between past and present ideas of beauty. Garcia, a skilled draftsman, paints in a graphic style. Black line silhouettes depict women wearing basic underwear and lingerie. Her influences are European classics, such as, Tiziano, Velazquez, Ingres, Goya, and Boticelli. Lisandra compares the European ideologies of beauty to the ideologies she feels are forced on her today. She paints inside the underwear the details of paintings such as “The Birth of Venus” or “La Grande Odalisque.”
Lisandra Isabel Garcia acquired her Masters in Fine Arts from the Higher Institute of Arts (ISA) in Havana, Cuba where she now permanently resides. Garcia’s work has been featured in multiple exhibitions internationally, including an exhibition in the Freies Museum in Berlin, Germany.
ADISLEN REYES PINO draws her inspiration from the personal narrative. Pino’s creative process stems from the idea that the personal angst of the individual often reflects the trepidations of the public realm. For this exhibition Adislen will be showing work from her ongoing series of drawings titled “Crisis.” The concept behind this series began from Adislen’s own existential crisis, which she feels could be read “as the crisis of an entire generation that has many questions, unrest, dissatisfactions and concerns similar to mine.”
Instead of creating spectacular images of catastrophes to portray that anxiety, Pino opts to use small scale, simple and clean drawings that convey calmness. A calmness that Adislen feels communicates more explicitly the anxiety felt when one comes across those existential questions about the world today.
Adislen Reyes Pino was born in Havana in 1984. She graduated from the Higher Institute of Arts and the San Alejandro Academy of Fine Arts, where she is now working as a professor. Pino’s work has been exhibited in several solo exhibitions in Havana, Cuba. Her work has been featured in the Taipei Fine Art Museum in China, The Art Museum of the Americas in Washington DC and the Museum of Contemporary Art and Design in Costa Rica. In addition, Pino has participated in many themed group exhibitions internationally, dealing with issues of the Cuban avant-garde, gender identity and book art. In the United States, Pino has shown in California, Connecticut, New Jersey, Florida and New York.
ALICIA DE LA CAMPA PAK paints a dreamscape influenced by Cuban and Western art history. By creating characters, poses, and costumes derived from Western European art, Alicia creates her own aesthetic. Echoes of the depictions of everyday women in floral headdresses and elaborate decorative elements in paintings by Cuban artists René Portocarrero and Servando Cabrera Moreno also find their way into Pak’s compositions. Using her own body as a template, she paints mythological-like figures influenced by everyday activities of women in Havana. Pak describes the women in her paintings and drawings as: "my alter ego, living in my dreams, my inner world, symbols of life, beauty, knowledge ... ". In her painting “La Vendedora Ambulante” (“The Traveling Woman Vendor”) she depicts a street vendor in a regal position as if sitting on a throne covered in flowers and butterflies. The fantasy is infused with the optimism that anything is possible for the everyday woman of Cuba. The paintings in this current exhibition are part of her series titled “Habaneras,” a colloquial term that refers to women walking about their daily lives in Havana.
Alicia de la Campa is a Cuban painter, engraver, illustrator and art professor who resides in Havana. Alicia graduated from Havana´s San Alejandro Art School, and she went on to earn an MBA in Visual Education at the Enrique José Varona Higher Pedagogical Institute. Alicia is a member of the National Union of Cuban Writers and Artists (UNEAC.) She has had numerous solo and group exhibitions in Havana, New York, Chicago, South Korea, Mexico, Panama, Madrid and Slovakia. Her work is included at: The International Encyclopedia of Fantastic & Surrealistic & Symbolist & Visionary Artists, Germany 2009; "Cuba Arte: La mujer en el foco de la creación artística, desde el fin de la colonia hasta el presente" Germany 2010; and the International Catalogue of Modern Art 2012-2013, Cida, Italy.
Lora Schlesinger Gallery presents Abstraction featuring paintings and mixed media artworks by Miya Ando, Richard Bruland, Sophia Dixon Dillo, Mark Steven Greenfield and Maxwell Hendler. In the post-digital age where images are instant and abundant, abstract art is a record of an artist’s individual mark.
The artists included in this exhibition explore the various realms of abstraction through materiality and technique. The show opens with the artist’s reception on Saturday, April 30th from 5:00 – 7:00 pm.
Lora Schlesinger Gallery presents Silence is a Thing I See, new still-life paintings by Gershom.
Gershom has been exploring and navigating the diverse world of still-life painting, ranging from sumptuous abundance and riches to the traditional vanitas of life .Through paint, his objects tell stories captured through shape, texture, light and color. Each painting is a veneration of each object, that invokes the viewer to look more closely at the objects often overlooked.
Gershom was born in the Netherlands. He lived in Amsterdam for many years. He has a PhD in Psychology and Epidemology. He moved to Los Angeles to study sculpture and painting at Otis College of Art and Design.
Carlson Hatton: Black Hills @ Patrick Painter, Inc.
Patrick Painter is pleased to present an exhibition featuring new paintings by Los Angeles artist Carlson Hatton
Paco Pomet: Recent Paintings
May 14th - June 18th, 2016
Richard Heller Gallery is proud to present, Paco Pomet, Recent Paintings. This will be Pomet's third solo exhibition at the gallery.
This exhibition presents a new body of work in which the pursuit of a subject unification has been avoided. The result alternates different motifs (landscapes, interiors, scenes) in which pictorial representation is questioned and a metalinguistic aim can be found. All the displayed paintings have a family resemblance even though no attempt of series has been made.
Each of the works in this exhibition uses photography as a source; as a starting point.
Paco Pomet, Recent Paintings follows Pomet's group exhibition at DISMALAND, Bemusement Park, curated by Banksy, in Weston-super-Mare, United Kingdom in 2015, and his solo exhibition at The Baker Museum, Artis-Naples, Florida in 2015/2016 (the first retrospective museum exhibition of Pomet's work in the United States).
"The act of looking causes an excited perplexity in me. I can't get used to anything that I see, and so nothing bores me and nothing entirely convinces me. The manifestation of the visible is renewed every instant, although the appearances and our natural tendency to safety and protection lead us to think that we have found a valid, everlasting formula to interpret the world. It seems that this formula – normally dressed as culture – is determined to be a sort of armor-plating against something that we are fascinated by and that we fear: change, uncertainty, the unknown, the future. That culture we turn to often operates as a suit of armor, sunglasses, boots, a compass, air-conditioning apparatus or an umbrella and ends up preferring to be a prosthesis that protects us from the rough weather of life’s meaninglessness."
~ Paco Pomet
About Paco Pomet:
Born in 1970, Granada, Spain. Lives and works in Granada, Spain.
Pomet received a Fine Arts Degree from the University of Granada, Spain, in 1993 and graduated from the School of Visual Arts, New York, in 2004. Pomet's works are in the permanent public collections of the Ministry of Cultural Affairs, Madrid, Spain; Spanish Academy, Rome, Italy; Santander Museum of Fine Arts, Spain; IVAM (Valencia Institute of Modern Art), Spain; and École d´Art Aix en Provence, France.
The Body Electric
Photographs by Jeff Charbonneau & Eliza French
April 2 - May 7, 2016
In conjunction with MOPLA
ROBERT BERMAN GALLERY is pleased to present a solo exhibition of photographic works by Jeff Charbonneau & Eliza French. Known for their large-scale, narrative-driven tableau photographs, Jeff Charbonneau & Eliza French have honed their visual language through ten years of ongoing collaboration. The Body Electric revisits early periods of intensive experimentation with light painting, in-camera illusions, costuming and performance, that became the foundation for the duo's artistic practice. Included in the exhibition are figure studies, landscapes, and abstract works printed as intimately scaled silver gelatin and pigment prints, as well as unique polaroids.
ROSEGALLERY is pleased to present Dirk Braeckman’s premiere west coast, solo exhibition, on view from 30 April 2016 through 13 August 2016. The reception for the artist is Saturday, 30 April 2016, from six to eight pm.
First experimenting with photography in the 1980’s, Dirk Braeckman’s work has evolved into a singular form that evokes minds of sensual ambiguity and intimate solitude. Through the use of black and white, analogue photography and dark lab techniques, the artist develops a relationship between what is photographed and post-production manipulation. This relationship allows for the found, often commonplace subject…a row of curtains, an empty doorway or a woman’s crossed legs…to arrest attention and command a space that is ordinarily unobserved.
Braeckman transforms the darkroom into a field of experimentation, working closely with the materiality of the photograph. This intimate relationship with his photographic materials mirrors the intimate perspective when photographing his subjects. By utilizing tonalities of the gray-scale and focusing on acute details, such as the folds of afabric or the curvature of the female form, Braeckman asks the viewer to engage with simple subjects that are often lost in shades of gray.
Robert Kingston "New Paintings"
March 3 - April 16, 2016
Ruth Bachofner Gallery is pleased to present New Paintings by Robert Kingston. There will be a reception for the artist Saturday, March 5, 5-7 PM.
Robert Kingston's paintings consist of vast ivory white expanses punctuated by emerging muted colors, sketches, and textures embedded into the canvas. Kingston layers innumerable washes of acrylic through which clusters of geometric forms, pencil marks, swirls and other quick visual notes emerge. His distinctive markings are evident from quick takes of his surfaces, but it is through a slower read that the cursory gestures gain traction and the heart of his work materializes. The entire canvas is worked and worked again, eventually resolving into a series of canvases where the ephemeral is suspended and grounded in an opaque web of material.
These paintings stand as a visual record of Kingston's process which is spurred on by experiences and influences filtered through the act of painting. The artist smudges, scribbles and scratches away at the pigment using large gestural brushstrokes as well as dry brushstrokes, giving the works a textured tangibility and immediacy; it is not uncommon to find a paintbrush bristle or a scratch obscured by another layer of paint. These elements gather into highly considered compositions that create a balance between the gauzy, ethereal washes and more corporeal markings. Kingston's gritty process fosters elegant, airy compositions that suggest ancient narratives and mythologies, while remaining fresh and lyrical.
A.M. Rousseau, "The Art of Taking a Line for a Walk"
March 3 - April 16, 2016
Ruth Bachofner Gallery is pleased to present The Art of Taking a Line for a Walk, an exhibition of new work by Southern California-based artist, A.M. Rousseau. There will be a reception for the artist Saturday, March 5, 5-7 PM.
A.M. Rousseau is a multi-disciplined artist, writer and photographer who has exhibited her work nationally and internationally. Using a deceptively simple formulation of connecting one line to another she takes her inspiration from a Paul Klee dictum: “Take a line for a walk, aimlessly for the sake of the walk.” What happens in between is the subject of her work.
With this exhibition, her first at the gallery, Rousseau brings together a series of paintings and drawings that trains the elemental form into ribbons of kinetic force or a profusion of swaying forms that exude such levity that belie a rather formal approach. She makes a line, chooses one point and follows it to wherever the mark leads, repeating the process to build a lush field. In other work, through a process of eliminating the beginning and end points, she connects bits and pieces of lines that then form shapes of their own making, each line finding a partner and forming a unique arrangement or pattern. Rousseau sees each line as a metaphor for the way life happens: one point leading to another, ever changing.
For her, “Every line is a reflection of individual will, a unique indicator of purpose and direction, just as in hieroglyphics, a kind of handwriting that can be read if the system of mark making is understood.” She regards her work as meditative, the mind and body connected and finding expression through motions of the arm, wrist, hand, fingers, and finally exiting via the implements of a brush, pen or pencil. Her work has much in common with the timeless quality of ancient Chinese and Japanese calligraphy, at the same time as it is firmly rooted in contemporary art practice.
She is the recipient of a National Endowment in the Arts Fellowship, The Djerassi Foundation Affymax Fellowship, the Rockefeller Foundation’s Bellagio Artist Residency, Yaddo Artist residency, the Virginia Center for the Arts residency, the Manhattan Borough President’s Award for Excellence and Service in the Arts, and the Harc Foundation Award.
She received her undergraduate degree from the Massachusetts College of Art and a Master’s Degree in Fine Art from Pratt Institute, Brooklyn, NY. She also attended the New York Studio School for Painting and Sculpture and a summer program at the Skowhegan School for Painting and Sculpture.
For further information please call 310 829 3300 or visit www.RuthBachofnerGallery.com
Currently considering consignments for our next live public art auction
Sunday June 5, 2016
May 07-July 02, 2016
Opening Preview May 07th 5-7pm
All research begins with an anxiety and finishes with an imbalance.
— Leon Chestov, 1938
Shoshana Wayne Gallery is pleased to present Minoan Girls by Elaine Reichek featuring sixteen new works, including three large-scale tapestries. This is the artist’s fourth solo exhibition with the gallery. The “Minoan Girls” series (2011–16) continues the exploration of Greek myth that Reichek began in her previous body of work, “Ariadne’s Thread.” It centers on the narratives of lust, seduction, betrayal, bestiality, and abandonment that determined the fates of four mythic women of Minos: Europa, Pasiphae, Phaedra, and of course Ariadne. Thread is once again the foundational conceptual link running through the series, echoing Ariadne’s gift to Theseus of the ball of thread that enabled him to navigate the Cretan labyrinth. In “Minoan Girls” Reichek focuses on the ways in which the Greek myths are continually retold and reenacted over the centuries, in the same way that sewing doubles a thread back upon itself repeatedly.
Reichek employs a wide range of mediums, including both hand and digital embroidery, silkscreen, beading, digital photography, and tapestry. She uses these methods to re-create works by artists ranging from Titian, Rubens, and Rembrandt to Gustav Klimt, Eugène Atget, André Masson, and Anni Albers, and pairs these images with quotations sampling a wide variety of literature, from Ovid, Plutarch, and Nonnus to Giorgio de Chirico, Stevie Smith, and Erika Mumford. The tones of these texts are by turns speculative, propositional, anticipatory, and ruminative. Each Minoan Girl is conscious of the part she plays and of the trajectory of her story. “You were the heroine,” says one narrator to Ariadne, who replies, “Yes, so I was and am.” This Ariadne is a diarist, shaping her own version of the narrative. Even the male protagonists—Zeus (taking the appearance of a bull), King Minos, the Minotaur, Theseus, Hippolytus—try on a succession of changing and often contradictory roles: father, son, sailor, rapist, seducer, bedfellow, husband.
Reichek helpfully supplies a Minoan Family Tree, decked out as Klimt’s “Tree of Life.” One of the best-known mythic scenarios, the Rape of Europa, is subjected to an almost diagrammatic exploration of the possibilities of narrative meaning and poetic appropriation. One pair of embroideries humorously translates the temporal layering of the “back story” into transparent needlepoint canvas. In another embroidery, the four women of the Minoan family are imagined walking hand-in-hand against a blood-red garland. This chain represents their connected fates and links their archetypal stories to countless possible future reinterpretations. Various formal and visual devices parallel the ways in which the ancient myths have been reinterpreted across centuries. For Reichek, the reiterative processes inherent in translation and interpretation are creative acts, and the movements they initiate among languages, disciplines, and materials open possibilities for new readings and meanings.
Elaine Reichek has exhibited extensively at institutions in the United States and abroad, including the Museum der Moderne, Salzburg; The Museum of Modern Art, New York; the Wexner Center for the Visual Arts, Columbus, Ohio; the Palais des Beaux-Arts, Brussels; the Irish Museum of Modern Art; Dublin; and the Tel Aviv Art Museum. She has participated in biennials worldwide including, the Whitney Biennial, New York (2012); the 30th São Paulo Biennial, São Paulo, Brazil (2012); and the Cheongju International Craft Biennial, Cheongju, Korea (2011). Reichek has been the recipient of prestigious grants and awards such as the Francis J. Greenburger Award (2013); the Smithsonian Artist Research Fellowship (2011-12); the John Simon Guggenheim Memorial Foundation Fellowship (2005); and The Louis Comfort Tiffany Foundation Award (1993). The artist lives and works in New York.
For more information contact Alana Parpal firstname.lastname@example.org
May 14 - June 18, 2016
Sloan Projects is pleased to present Elizabeth Orleans: GIANT STEPS, an installation of ceramic sculpture. This will be the artist’s first solo exhibition with the gallery.
In her latest body of work Southern California artist, Elizabeth Orleans, expands upon her minimalist repertoire, bringing geometric precision and sensual whimsy together in an installation of unpredictable ceramic objects. Monochromatic ladders glazed in crisp whites, fleshy peaches and glossy bronze, lean casually against the walls, teasing the viewer with their apparent functionality. Giant skeleton keys dangle from robust and seamless chains that appear deceitfully indestructible. And dozens of pyramidal shapes stretch across the walls in a rhythmic flourish that is simultaneously organic and abstract. Like the artist’s previous sculpture and architectural interventions, the work in Giant Steps seeks order in chaos and explores ideas of movement and the infinite possibility of time using highly concentrated shapes and a deliciously subdued palette. The significant departure surfaces in details rendered in bright colors and the addition of emblematic shapes of symbolic heft. This updated vocabulary brings the quietly abstract in concert with the archetypal in an unorthodox installation that plays melodiously across the gallery walls.
Elizabeth Orleans (b. Philadelphia, PA.) earned a Master of Fine Arts degree at California College of Arts and Crafts in Oakland, CA and a Bachelor of Fine Arts in ceramics at Tulane University in New Orleans, LA. She has also studied at Tyler School of Art in Philadelphia, Clayworks in Santa Fe, Penland School of Crafts in North Carolina, the Oregon School of Art and Craft in Portland and the Studio Art Centers International in Florence, Italy.
Her ceramic sculpture and site-specific installations have been featured in Ceramics Monthly magazine and have been exhibited at the Museum of Contemporary Art in Santa Rosa, CA, the Museum of Craft and Folk Art, San Francisco, and the Massachusetts College of Art and Design.
Elizabeth Orleans maintains a studio in Venice Beach, CA.
Tuesday, May 17th – Saturday, June 11th, 2016
Vicky Hoffman – Latitude & Longitude
Joe Pinkelman - Pinching China
Tom Wheeler – Light Lab 2016: Western Landscapes
Saturday, May 21st, 2016 from 4 – 7PM
Artist Panel Discussion:
Saturday, June 4th, 2016 at 3PM
Vicky Hoffman – Latitude & Longitude
In her latest series of work entitled Latitude & Longitude, Vicky Hoffman explores the impact we have as a society on our environment, and its vastly limited natural resources. Questioning how much further we can exhaust the assets of our earth, Hoffman references ecological concerns such as drinking water, economy, population, and poverty within her work. Using simple geographical coordinates as her titles, Hoffman brings to light specific locations around the world facing such crisis’s.
From sites as far away as Madagascar, and as close as the LA River, Hoffman’s work speaks broadly about our opportunity and responsibility to work collaboratively as a civilization to pollute less, and conserve more. Utilizing different textures, grids, and tactile materials, Hoffman provides an intimate perspective of these environmental worries. Applying mixed media and encaustic paints, Hoffman creates a veil of light, depth, and transparency to achieve an abstract atmosphere within her work.
Joe Pinkelman – Pinching China
In his latest exhibition, artist Joe Pinkelman explored the porcelain pinch pot methods of the indigenous people of Jingdezhen, China. While studying abroad last summer, Pinkelman began experimenting with the time-honored techniques of creating ceramics and using the vocabulary of traditional and ancient Chinese vessels. With a very slow and delicate process, Pinkelman was able to focus on the spiritual and ceremonial aspects of the traditional craft.
Using a customary ox blood red glaze, Pinkelman’s work draws focus to the texture, surface, and shape of each piece. The other forms in this exhibition explore Pinkelman’s continued examination of fragmented vessels, the tension created between two shapes forced together, yet seemingly pulled apart.
Tom Wheeler - Light Lab 2016: Western Landscapes
In his latest exhibition entitled Light Lab 2016 – Western Landscapes, artist Tom Wheeler presents a dynamic evolution of his continuing work in night photography. His new work reaches beyond the realm of typical night photography and into something unique. Wheeler proposes that this style might be more aptly called light manipulation photography.
Wheeler’s underlying requisite methodology still holds constant, (nighttime long exposures with light-emitting tools such as flashlights, and hand-lit subjects among vast, awe-inducing, starry landscapes) while many of the images in his newest series challenge the elements of composition in traditional night photography. Moving beyond his previous approach, these new images are no longer necessarily bounded by complete starry darkness and now include “fast work” in rapidly changing pre-dawn and post-dusk light situations.
Although always a primary subject, nature itself is no longer the only cast member, as man-made intrusion and/or coexistence is introduced into his new work as a theme. A recurring subject is a lonely plastic snowman, as well as exploration with portable acrylic light rods and large glowing hand-hit Lucite boxes. Experimentation is paramount in Wheeler’s artistic process, spurring the title Light Lab 2016, as Wheeler intends to morph his style of work as he progresses. Wheeler holds the idea that there is an abundance of untapped compositional style in the world of night imagery, and thoroughly enjoys the journey and thrill of exploration in this genre of photography.
Light Lab 2016, showcases a variety of images in beautiful settings along the West Coast region of the American continents from the upper US to the bottom tip of Chile. Wheeler’s recurring styles lean toward minimalism, with vast wide-angle landscapes and tiny, yet powerfully lit up subjects, with some of his work continuing to show a somewhat quirky sense of humor.
For nearly 30 years, William A. Karges Fine Art has been the preeminent art dealer specializing in early California and American paintings. With galleries in Carmel and Santa Monica, Karges Fine Art carries one of the most varied, high-quality, historically significant inventories of paintings available on the West Coast. Karges Fine Art is also the exclusive representative of Dennis Doheny, considered by many to be the finest realist landscape painter working in California today.
Ed Moses MOSES@90
April 30 - June 25, 2016
William Turner Gallery is pleased to present Moses@90, an expansive survey exhibition that will present Ed Moses' innovation in drawing and painting. The installation will occupy two venues: William Turner Gallery and the former Santa Monica Museum of Art building at Bergamot Station.
On the occasion of Moses' 90th birthday, the exhibition will celebrate the varied and prolific career of this indelible Los Angeles art world fixture. A painter and "mutator", whose allegiances have been to tireless experimentation rather than to the tenets of any one movement, Ed Moses has been honing a distinct visual vocabulary for over 60 years, obsessively mining the possibilities of abstraction. At 90, Moses continues his dogged search for the elusive metaphysical power of painting, creating works that are about the expression of temporality, process and presence, beyond the physical limitations of surface.
The exhibition will survey works spanning the entirety of Moses' career, including a selection of never before seen paintings. Earliest examples include meticulous architecturally inspired drawings from the 50s, the well-known Rose and patterned graphite drawings from the 1960s and 70s, cross hatch and screen paintings, looser gestural paintings from the 1990s, and more recent works that include the craquelure and mirror paintings. The restless energy with which Moses has borrowed from pre-existing formal vocabularies and adapted their morphologies to make them his own, attest to the mutable nature of his vision. A self-described "mark maker," his concerns exceed formal ones and slip easily into philosophical and anthropological spaces. He has described his own process as a shamanistic offering, a self-assertion and proof of existence left for posterity to the "tribe"; a primitive desire to leave one's mark. Above all else, the work is about the process of making, and the fragile reconciliation of chaos and control it requires. In Moses' own words: "The point is not to be in control, but to be in tune."
A member of the original stable of artists showing at LA's legendary Ferus gallery, Moses exhibited there for the first time while still an MFA student at UCLA in 1958. Exhibiting among the likes of Billy Al Bengston, Robert Irwin, Ed Kienholz, Larry Bell, and John Altoon, all of whom became known as the fabled "Cool School," Moses was among those who shaped the infancy of the West Coast art scene. A maverick among them, given his preference for process driven abstraction over strict adherence to the Finish Fetish and Light and Space movements championed at the time, Moses has always done things a bit differently. With an itinerant aesthetic, he has continued to embrace transformation and change as a matter of course. In 1974, following an exhibition in New York with André Emmerich, Clement Greenberg himself immortalized Moses as a "player."
Ed Moses works daily, preferring to create out of doors en plein air. His unique Venice, California studio accommodates this freedom structurally with fluid transitions between indoor and outdoor spaces. This is the artist's third exhibition with William Turner Gallery. Previous exhibitions include, Ed Moses: Now and Then (2015), and Ed Moses & Larry Poons: The Language of Paint (2014).