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
TROUBLE DIARIES: FOUR STANCES
MATHILDE TER HEIJNE
EUGENIA VARGAS PEREIRA
"A personal diary entails an intimate conversation connected with the self, and the promise of avoiding disappearance and disintegration."
Saturday, March 12th
6pm - 9:30pm
"Trouble Diaries: Four Stances" is a series of exhibitions exploring the unique positions and approaches of women artists from around the world. The series begins in Los Angeles, with work by artists from diverse backgrounds and experiences. Regardless of cultural difference, they share similar concerns and a critical view of the role of woman within society. The series sheds light on individual actions that build a collective experience through a female perspective. The intimate life of a person can complicate the way they address broader political agenda. The construction of collective memory without losing sight of personal feelings and emotional bonds cannot be easily classified into theories which rationalize, and thus dominate, politically.
The artists use similar strategies of performance and the appropriation of traditional genres, to reveal how the female body becomes a political subject when exposed as a critical weapon. French-born Mathilde ter Heijne of Berlin, Germany confronts socio-political gender issues and intersectional feminism through performance. Her videos explore the issue of self-immolation as a moral and ideological act. Fan Liu of Wuhan, China appropriates traditional Chinese watercolor painting on silk to reveal a painful reality that surpasses the beauty of depicting nature. Her work combines classical imagery with the consciousness of the modern female identity to explore an intrinsic discourse about gender in society and culture. Iris Schieferstein of Lich, Germany uses the female body as a prop in her photographs of recreated scenes in history. Chilean-born Eugenia Vargas Pereira of Miami, USA uses photography to create a series of "storytales" with a beautiful heroine, who, dressed to kill and equipped with phallic protection, offers opposition to the world she inhabits, a world in which fear is the new norm.
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.
Lou Beach: A Plague of Fools
Stephen Aldrich: Subject Matters
Joseph Heidecker: Figures & Faces
Zac Thompson: False Family: The Architecture of Found Photographs
April 16 - May 21, 2016
Reception: Saturday, April 16, 5-7pm
"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.
Keisho Okayama "Recent Work"
At FIG, April 20 - May21, 2016
Keisho Okayama’s paintings are powerful, expressive abstractions balanced by a serene introspection. These are soulful, meditative works that speak of the human condition, the influence of nature’s power, and a universal spirituality. Often ghostly and ethereal, Okayama’s paintings are filled with mystery, drama, and a turbulent sense of movement. Although modest in scale these paintings are operatic in their presence. His work is solidly built on a foundation of optimistic devotion to the artistic endeavor. These are paintings about the love for painting and being a painter.
Process and intuition greatly influence Okayama’s studio practice. The preparation of the unstretched canvas, his applications of atmospheric stains and washes, his bold brush handling, and his unique and surprising color palette all come together in the studio to result in these remarkable abstractions. Okayama’s unstretched, free-form paintings establish a unique presence on the wall, the draping of the canvases opening a dialogue with the space around them. His paintings are tactile and unpretentious, while at the same time possess a self-assured formality.
Francisco Toledo Sobre Papel
March 5 - April 23, 2016
Opening Reception, Saturday, March 5, 6-8 PM
Latin American Masters gallery is pleased to present an exhibition of works on paper by Francisco Toledo. In addition to mixed-media works and graphics, Sobre Papel features 30 watercolor and ink drawings from the late 70’s, made when Toledo lived in New York. Some of these works portray erotic encounters between lovers, while others feature Toledo’s amorous bestiary of animals. By focusing on the shared appetites of man and “beast,” Toledo expresses the interconnectedness of all living things.
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 firstname.lastname@example.org.
Visit LILLA BELLO in Bergamot Station. Fresh, daily florals, event and wedding styling, and a specially curated lifestyle shop await in F1b
MICHAEL FLECHTNER, CANDICE GAWNE, DAVID SVENSON, KAZUMI KOBAYASHI SVENSON AND PHILIP VAUGHAN
March 12th through May 8, 2016
Opening Reception, Saturday, March 12th, 6pm - 9pm
"The blaze of crimson light from the tube told its own story and was a sight to dwell upon and never forget.” – Morris Travers upon the discovery of neon.
Lois Lambert Gallery presents “eNlighten”, an exhibition of neon light works by artists Michael Flechtner, Candice Gawne, David Svenson, Kazumi Kobayashi Svenson, and Philip Vaughan.
“eNlighten” explores the development of neon as a medium in contemporary art. The neon light works featured in this exhibition range from representational forms conveying satirical humor to conceptualizations of the physical qualities of neon, light and color.
MICHAEL FLECHTNER began his career creating sculptures and paintings and transitioned to using neon as his primary medium in 1985. Flechtner creates two and three dimensional neon works, specializing in complex animation and intricate glass bending. Flechtner sees his creative influence stemming from his “fascination with the symbols of language, technology and how they influence popular culture.”
Flechtner’s work has been featured in over 30 exhibitions. Numerous private collectors and public organizations have commissioned Flechtner to create works. In 1999, Flechtner was awarded the J. Paul Getty Trust Fund Fellowship for the Visual Arts. In 2010, USPS commissioned Flechtner to design his “Celebrate” stamp, which was re-circulated in 2015.
CANDICE GAWNE incorporates glass blowing techniques with neon elements to create sculptures that echo patterns and shapes found in nature, highlighting her fascination with the physical elements of light. “In accord with the laws of physics, natural or manmade light defines form. For me, it also creates a special kind of abstract energy within the space it describes. I use this kind of living light energy coming into the darkness to symbolize transformation. The energy of ‘Light Entering the Dark’ is at the core of all my work.” From the asymmetrical strike of a lightning bolt to the amorphous contours of deep sea anemone, Gawne’s neon artwork extols the nature of light.
Gawne’s works have been exhibited in galleries and museums in Los Angeles, New York, Washington D.C., Berlin, Tokyo and Taiwan. She has taught art courses at OTIS, UCLA and Cultural Affairs Department of the City of Los Angeles, among other public and private institutions.
PHILIP VAUGHAN is a sculptor, whose work reflects his passion for architecture, painting, and sculpture. Some of Vaughan’s neon sculptures are architectural, solid structures made up of crisscrossing latticework of neon tubes and at other times gestural, like the everlasting strokes of a paintbrush. Vaughan’s use of neon is rooted in his interest in the film industry, “In my search for ways to imply motion I became fascinated by the movies and the completely believable illusion of motion that they create out of the motorized passage of a series of still images.”
Vaughan was born in France and raised in the United Kingdom. He earned his BA from the Chelsea School of Art with first class honors in 1964. His experience in kinetics emanates from being a research assistant at Northumberland Polytechnic art school in Newcastle. One of his renowned works includes a competition entry and London’s first public light sculpture, the Neon Tower, for Hayward Gallery. He continues to create works for public institutions, amusement parks and private collectors.
DAVID SVENSON is a multimedia artist that primarily works with glass, wood, and neon. Svenson uses neon combined with glass blowing and casting as a medium to emphasize the coordinated sculptural forms. Svenson’s 42 years of traditional Northwest Coast woodcarving and his fascination with the technology of neon as a medium coalesce as important transmitters of culture. David teaches classes at the Academy of Art University in San Francisco and holds workshops entitled, “Neon as an Art Form.”
KAZUMI KOBAYASHI SVENSON, from Sendai, Japan is a neon artist who has been practicing glass blowing for 25 years. Svenson employs luminous tubing to create two-dimensional neon works that are influenced by subjects ranging from deep-sea life to Japanese folk culture and aesthetics.
David and Kazumi’s collaborative work includes their “Electric Kokeshi” series, inspired by hand-carved wooden Japanese dolls of the same name. David and Kazumi’s “Electric Kokeshi” works reflect the artists’ shared passion for woodcarving in traditional Japanese culture, glass blowing and neon.
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
Hope Gangloff (East Gallery)
Benjamin Degen, Yuri Masnyj, and Hope Gangloff (West Gallery)
March 26th - April 30th, 2016
Hope Gangloff was born in 1974 in Amityville, New York. She lives and works in Brooklyn, New York. She is a graduate of The Cooper Union School of Art and Science.
Gangloff is known for creating vibrant and truthful portraits of her friends as a way to share her view of modern American life. By capturing this generation of young adults in her illustrations and paintings, she documents this era’s struggle during these tumultuous times.
Gangloff has exhibited nationally and internationally, with solo shows at the Broad Art Museum in East Lansing, Michigan; the Aldrich Contemporary Art Museum, Ridgefield; and galleries both in the US and Europe. She has also exhibited in a number of group shows at institutions such as the Kemper Museum of Contemporary Art in Kansas City; the Philadelphia Academy of Fine Arts; the Weatherspoon Art Museum in Greensboro, and Schunk at PinkPop Festival in The Netherlands. Gangloff’s work is in the permanent collections of Alturas Foundation, San Antonio, TX; Broad Art Museum at Michigan State University, East Lansing, MI; Cleveland Clinic, Cleveland, OH; Kemper Museum of Contemporary Art, Kansas City, MO; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; and Wadsworth Atheneum, Hartford, CT.
New York-based artist Benjamin Degen, utilizes a vibrant color palette that radiates with movement and intricacy to create paintings that simultaneously represent multiple elements such as figures, landscapes and diagrams. Degen was born in 1976 in Brooklyn, New York. He received a Yale Norfolk Painting Fellowship in 1997 and received a Bachelor of Fine Arts from The Cooper Union School of Art and Science in 1998.
In addition to exhibitions in the United States, Degen has appeared in museum and gallery exhibitions in Belgium, Italy, Malaysia and Switzerland. Select exhibitions include Greater New York, PS1 MOMA, Long Island City and Painting as a Radical Form, Collezione Maramotti, Reggio Emilia, Italy.
Degen’s works are in the permanent collections of The Museum of Modern Art, New York; Collezione Maramotti, Reggio Emilia, Italy; The Hort Foundation, New York; The Nerman MoCA, Kansas; The Judith Rothschild Foundation, New York; Contemporary Drawings Collection, New York; The Tang Museum at Skidmore College, New York; and UBS Art Collection, New York.
Yuri Masnyj was born in 1976 in Washington D.C. He received a Bachelor of Fine Arts from The Cooper Union School for the Advancement of Science and Art in 1998.
Masnyj is known for his austere drawings of interior space, and sculptural installations that have qualities of theatrical set objects. Masnyj’s work addresses the relationship between art and design while exploring the human compulsion to collect and compose objects.
Masnyj’s work is in the permanent collections of Museum of Modern Art, New York; Whitney Museum of Art, New York; Hammer Museum of Art, Los Angeles; and Honolulu Museum of Art, Honolulu.
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 Facial Signature by renowned Japanese artist, Tomoko Sawada. This exhibition will be on view from 20 February 2016 through 9 April 2016. The reception for the artist is Saturday, 20 February 2016 from six to eight pm.
As one of the leading contemporary artists in conceptual photography, Tomoko Sawada’s work explores cultural identification and gendered societal norms through self-created portraiture.
While sponsored as an artist in residence by the state of New York from 2010 to 2013, Sawada began considering the “intuitive process by which people achieve cognition of true or false archetypes”. Living in one of the world’s most ethnically diverse urban environments, Sawada was often told she looked Korean, Chinese, Taiwanese or a number of other East Asian ethnicities. Inspired by this experience in New York City, Facial Signature addresses issues of identity, culture and universality.
Facial Signature confronts ethnic archetypes, by reimaging Sawada as 300 varying interpretations of East Asian women. This repetition of ethnic identity stresses that human beings “share 99.99999% of the same genes, and that all of us—despite having different types of so called “added cultural values”—such as nationality, race, religion, and language—are by nature and essence equal to one another”. Through the use of costume detail, hair and makeup, framing and posture, Sawada intricately constructs her photographic imagery, thus throwing into question the identities of whom she is representing.
Since her breakthrough series, ID400, Sawada has exhibited a number of other photographic series, including, Bride, Mirrors and Omiai, all focusing on “the tension between a public image and what we believe is our individual or core inner self”.
As one of Japan’s most provocative, contemporary female photographers, Sawada’s self-portraits have garnered international attention, and was most recently exhibited at the Getty Center as a part of the selected group series, The Younger Generation: Contemporary Japanese Photography.
Born in 1977, in Kobe, Japan, Tomoko Sawada studied at the Seian University of Art and Design. Sawada has been the recipient of the Grand Prize at the Canon New Cosmos of Photography, the ICP Infinity Hyogo Arts Award and the Kimura Ihei Memorial Photography Award. Her work is held by internationally renowned collections at the Museum of Modern Art, New York, the International Center of Photography, New York, the Los Angeles County Museum of Art, MOCA Los Angeles, the Essl Collection, Klosternerberg, Austria, the Fogg Museum of Art, Harvard University, Cambridge, the J. Paul Getty Museum, Los Angeles and the Brooklyn Museum.
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
Material and its Making
February 27-April 30, 2016
Opening Reception February 27th 5-7pm
Shoshana Wayne Gallery is pleased to present Material and its Making a new exhibition by Frances Trombly. This is the artist’s second show with the gallery. In her work, Trombly has focused on making textiles by hand to represent often ephemeral and disposable industrial objects. She began to pare down the role of detail and color in her 2010-2011 series of handwoven canvas paintings, a shift that emphasized the sculptural and conceptual field of her work. The minimalism also allowed space to consider the importance of the breaks and shifts in the textiles.
In her latest work these variables within the fiber open up the conversation about the fabrication process: irregularity, asymmetry, glitches, pulls, and tears reveal the manual labor of weaving, standing in contrast to the industrial perfection of commercial cloth and emphasizing the artists intimacy with the material.
With no work wider than the width of her loom, there is a re-introduction of color and a new acceptance of the cloth as the work itself. Considering this focus on the material and its making, the works contain a timeline of their own construction, a transcription of the gestures of working and constructing a structure in space. As Trombly works, mistakes are left and patterns are switched as errors dictate, allowing a composition to build through unforeseen events in the process. The color is also woven in the process, but the fiber used is dyed far in advance and usually produces irregularly colored material. As she works, those irregularities reveal themselves and produce organic striations in the woven color fields.
These purely textile forms, rest, drape, and stretch on a series of industrial structures as a way to amplify the sculptural quality of the fabric. Scaffolding, wooden stretchers, and plywood pedestals subtley act as a departing reference to the textile as stretched canvas for painting. Here Trombly pushes the textile beyond just another material to sustain the art and into the "canvas" taking its overdue role as the work on its own.
Frances Trombly has exhibited at Pérez Art Museum Miami, Miami, FL; The Aldrich Contemporary Art Museum, Ridgefield, CT; Bass Museum of Art, Miami Beach, FL; Prosjektrom Normanns, Stavanger, Norway; Moore College of Art and Design, Philadelphia, PA; and Socrates Sculpture Park, New York, NY. Her work can be found in the Pérez Art Museum Miami, The Patricia & Phillip Frost Art Museum, Miami, FL, and the University of Maine, Museum of Art, Bangor, ME. She is a co-founder and co-director of Dimensions Variable, an artist-run exhibition space in Miami.
For more information contact Alana Parpal email@example.com
Peter Hutton/Film Stills
February 27-April 30, 2016
Opening Reception February 27th 5-7pm
Shoshana Wayne Gallery is pleased to present Film Stills a new exhibition by Peter Hutton in the west gallery. This is the artist’s second show with the gallery.
In the artist’s words: “Film is like amber. It's organic, made from animal bones, and a bit like human skin. As we age it wrinkles and shrinks. Our bodies are maps of our lives and visual evidence of lives lived. Like amber, the traditional material of film --celluloid --is a record of time. Linear and relentless, it captures our dreams and continues to live as a record of our evolving visual culture. Electronic media has devoured film and transformed time into a complex prism of non-linear wonder.”
Filmmaker Peter Hutton presents a selection of photographs that are digital blow-ups of 16 millimeter film frames from a selection of images made over the past 40 years. Digital printing has enabled Hutton to freeze time and provide the viewer with a sustained moment of reflection. Through these images, one can contemplate a new iteration of cinematic time. They offer a visual archeology of the landscapes and cityscapes of the world.
Peter Hutton received his B.F.A. and M.F.A. from the San Francisco Art Institute where he studied painting, sculpture, and filmmaking under Robert Nelson, Bruce Nauman, and Bruce Conner. Hutton is a professor in the department of Film and Electronic Arts at Bard College. His films have garnered national and international attention and he has shown in major museums and film festivals, including the Whitney Biennial (1985, 1991, 1995, 2004); a retrospective at MoMA, NY (2008); Les Rencontres d’Arles, Paris (2010); and the Toronto International Film Festival (2013) to name just a few. Hutton is the recipient of grants from, the National Endowment of the Arts, DAAD Berlin, Rockefeller Foundation, Dutch Film Critics Prize, and John Simon Guggenheim Memorial Foundation amongst others. The artist lives and works in Tivoli, NY.
For more information contact Alana Parpal firstname.lastname@example.org
four acts and a landscape
April 02 - May 07, 2016
Sloan Projects is pleased to announce an exhibition by Los Angeles artist, Adele Mills. Four acts and a landscape is comprised of mixed media objects that employ prints on fabric in a shadow-box format. This exhibition is the artist’s first solo show in the United States and her first with the gallery.
Over the last decade Adele Mills has honed a technique of combining photography, painting and digital rendering to produce abstract and figurative work with a structural layering, where one image is viewed through the transparency of a second image. The signature gap between the layers in her work creates a displacement of colors, shape and composition and produces doublings, fadings and seeming movement, as aspects of the image are activated through the shifting perspective of the viewer. Two dimensional images come alive through her rigorous study and precise placement of moire patterns, creating a unique vibrational exchange as the artwork is approached and regarded from different view points and distances.
Her latest body of work, four acts and a landscape, is inspired by the space of the theatrical stage and is loosely connected to the subject matter in The Seagull, a play by Russian dramatist Anton Chekhov. Mills draws upon elements of stage design, riffing off of structural elements like the curtains used to mask off portions of a stage which alter the dimensions of a production. With each of her works, Mills creates her own intimate theater by layering prints on fabric over printed backdrops. Hers is a breathable space where a vibrant visual production of her own design is enacted. Sometimes that space comes alive with rhythmic suggestions of performers and set pieces at the climax of a play. Conversely, that space can be absent of activity, a quiet series of screens and shadows between acts. In both scenarios, there is an anticipatory tension, a sense of passing time and a feeling of wonder that are peculiar to the artist’s chosen medium.
Adele Mills earned her MFA from CalArts in 2003 and was a research scholar at UCLA’s Center for the Study of Women from 2005 to 2007. She lives and works in Los Angeles.
Tuesday, April 19 – Saturday, May 14, 2016
Reception: Saturday, April 23rd, 5 - 8 pm
Artist Panel: Saturday, May 7th, 3 pm
Dan Janotta - Back to The Beach
Alison Lowe Platt - Instinct
Linda Sue Price - Hitting the Pause Button
Dan Janotta – Back To The Beach
As an accomplished Los Angeles architect, Dan Janotta’s work is often detailed and technical, with a strong focus on realistically capturing the straight lines of structural subject matter. After 12 years of developing his painting style, in his latest exhibition entitled “Back to the Beach”, Janotta returns back to the scene of his favorite muse; the coast and its serene energy.
Capturing impressions of the Southern California lifestyle that he has experienced for the last 30 years, Janotta’s “extreme coastal” images reflect the beauty of the sun, sand and the modern day influences of urban beach culture. While contemplative scenes of sunsets and breaking waves contrast with the gritty personal expression of tattoos and surf culture, this exhibition fully encompasses coastal living. Through the use of strong color, distinctive figurative silhouettes, and the play of sunlight off the shore, Janotta beautifully portrays his love for the beach and its inspirational and calming environment.
Alison Lowe Platt – Instinct
In her upcoming exhibition entitled Instinct, Alison Lowe Platt presents a series of small figurative drawings and paintings created during single session live studies. With a strong interest in shape, composition, and value, Platt finds the relationship between these elements essential to each of these small works.
Fascinated by the human body and the energetic fields within each of us, Platt works with live models to capture this sense of life force. Working quickly and furiously, Platt follows her “instincts”, forcing her to stay spontaneously present. Creating both tension and abstraction with her use of light and shadow, Platt illustrates that powerful human essence through the unrefined brushwork of her compositions.
Linda Sue Price – Hitting the Pause Button
Nothing is black and white. Question, Listen and Think. Linda Sue Price’s new series hitting the pause button reacts to current events and proposes life lessons. She mixes words and abstract neon shapes to facilitate a dialogue, creating unexpected relationships between the two. Words are powerful expressions of thought. Price focuses on words that resonate, then develops the neon forms and combines the words to colors that reflect the energy of the word.
There is an expectation that neon has a certain shape—as in letters and signs. Working primarily with abstract shapes is to challenge the expectation of what neon is. Deciding to add words to the work, a conscious decision was made to not make the words out of neon. Price combines the physical transformation of the medium (the bending of neon tubes) with the challenges of the imagery (the curving, abstract forms). The process that connects these relationships represents the mental process Price is interested in, a visual manifestation of a system of thought. While inspired by artists Alexander Calder, Frank Stella, Laddie John Dill and Judy Chicago, Price also is influenced by elements of historic neon signs, abstract expressionism, pop art and graphic design.
William A. Karges Fine Art is proud to offer outstanding examples of works by acclaimed Early Mexican artists including Alfonso X. Pena (1903 - 1964), Alfredo Ramos Martinez (1871 - 1946), Gustavo Montoya (1905 - 2003).
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.
Jimi Gleason: Surface And Light
January 30 - March 19, 2016
The William Turner Gallery is pleased to announce our upcoming solo exhibition, Jimi Gleason : Surface and Light. Jimi Gleason's paintings are enigmatic. They emphasize seductive surfaces, which reveal no trace of traditional paint application. These mysterious surfaces are highly reactive to light, position and viewer - acting as catalysts for shifting perceptions. They are immediately understandable as paintings, though it’s difficult to imagine how they were created. Through the use of non-traditional materials and luminescent silver deposit, Gleason creates works that inspire an intimate reflection on the essence of how we perceive and experience the world around us.
Gleason’s most recent body of work is consistent with the iridescent paintings he has developed over the last decade, but marks a radical departure in execution. Using a silver-deposit surface coat, Gleason creates paintings that are ethereal and glassy - sheets of solid vapor that respond and react to the play of light and their environment. These newest paintings are saturated with brilliant colors - bright coppers, rich ceruleans and glowing golds - adding more depth to the already lustrous surfaces, which seem to emanate light from within.
Uniting hard-edge geometric forms with his sensuously luminous surfaces, Gleason boldly breaks up the picture plane into alternating fields of texture. The effect is a hypnotic and prismatic visual structure, where light, color and form intersect in ever-changing play. These dynamic surfaces engage the viewer and urge them to explore the infinite experiential possibilities of art.
Born in Newport Beach, CA, Gleason received his BA from UC Berkeley in 1985. He studied printmaking at the San Francisco Art Institute before relocating to New York City, where he worked as a photo assistant and photo technician. Returning to California, Gleason was employed in the studio of Ed Moses for five years. Combining the disparate technical and compositional skills developed during his exposure to printmaking, photography and mixed-media painting, Gleason is now the subject of considerable curatorial and critical applause. His work is exhibited in significant public institutions, including the Armand Hammer Museum, the Long Beach Museum of Art, the Seattle Art Museum, the Tucson Museum of Art and the Frederick R. Weisman Foundation. The artist’s paintings are actively collected by a growing number of major public and private collections around the world.