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  • MaximillianGroup 12:29 PM on 22 May, 2018 Permalink | Reply
    Tags: , Ada Brown, Alan Hiroshi Nakagawa, Ali Kheradyar, Alicia Vogl-Saenz., Allison Stewart, Ananda Mayi, Anita Bunn, Ann Isolde, Antonia Price, Arezoo Bharthania, , , , , , , , , , , , , , Babara Benish, Babara McCarren, Barbara Carrasco, Barbara T. Smith, Barbara Thomason, Beverly Lafontaine, , Catherine Ruane, Cathy Salser, Chelsea Dean, Christine Rasmussen, Colivia Sanches Brown, , connie samaras, , Danielle B Ashton, David Estrada, Doni Silver Simons, Douglas McCulloh, dtla, Dwora Fried, Elizabeth Tinglof, Ellyn Maybe, Emma Jurgensen, , , , Flora White, Florence Rosen, Frances Hoffman, , Gloria Enedina Alvarez, Guadalupe Rodriquez, Hataya Tubtim, Holly Boruck, , Isabella Patino, , Janice BEa, Jessica Irish, Jill D'Agnenica, Jill Sykes, Joe Lewis, Joey Forsyte, José Lozano, Judy Fiskin, Karen Mack, Ken Marchionno, Ken Merfeld, keystone, , kim abeles, Kim Garrison, Kim Mack Golden, kimberly morris, , Lili Bernard, , , , Lynn Marchionno, Margaret Adachi, Mark Steven Greenfield, Mary Allan, Mary Anna Pomonis, May Sun, Meg Madison, Melanie Mandl, Michelle Ogilvie, Mika Cho, , Mona Kasra, , Nina Roder, Nono Olabisi, , Patricia Yossen, , Rachel X Hobreigh, Rosanna Albertini, Sally Beagle Price, Sandra Mueller, Sandra Rowe, Sandy Rodriguez, , Sergio Teran, Shannon Rose, Sheila Pinkel, , Steve Radosevich, Steve Seleska, Susan Feldman Tucker, , Suvan Geer, Sylvia Mihara, Thinh Nguyen, Tierney Gearon, United Catalysts, virginia katz, Vivian Metts, Yreina D Cervantez, Zavier Cazares Cortez, Zoe Abeles   

    Kim Abeles Curates Powerful Exhibition Focusing on the Mother/Child Dynamic 

    Mothers, Eggshells, and the People Who Birth Us. Keystone Art Space. Photo Credit Kristine Schomaker

    Mothers, Eggshells, and the People Who Birth Us

    Curated by Kim Abeles

    Closes Tuesday May 22nd at 5pm


    Written By Betty Ann Brown

    What fabrications they are, mothers. Scarecrows, wax dolls for us to stick pins into, crude diagrams. We deny them an existence of their own, we make them up to suit ourselves–our own hungers, our own wishes, our own deficiencies.  ~Margaret Atwood


    I wanted my mother to be warm and supportive and insightful and forgiving. But she was not. I wanted her to love me unconditionally and to be on my side always. But she could not. Like most people, she did the best she could, but I ended up with a big mother wound anyway. As did almost all of my close friends.

    My mother’s generation grew up in the middle of the twentieth century, coming to age as the Rosie the Riveter generation was being forced back into the home by what Betty Friedan called the “Feminine Mystique”–the cultural concept that women really do belong in the home rather than the work place. Like many of her contemporaries, my mother filled with resentment as she chafed against the patriarchal constraints and excruciating monotony of housewifery. Although she never found the words for it, she was angry and horribly, tragically unhappy.

    My own generation responded to that historic repression by starting the Feminist Art Movement of the 1970s and 80s. I was an early and avid participant. (In spite of the fact that one of my most accomplished friends told me she assumed I would be giving up my career when I decided to become a mother.) (I kept working anyway.) The Feminist Art Movement produced institutions like the Los Angeles Woman’s Building and amazing artists like Judy Baca, Judy Chicago, Betye Saar, and June Wayne. It also made possible the burgeoning careers of a younger generation of artists like Cheri Gaulke, May Sun, and Kim Abeles.

    Abeles recently moved to a studio in Keystone Art Space. She curated an exhibition there that invited artists to create and display work about their mothers. Entitled “Mothers, Eggshells, and the People Who Birth Us,” the show features artworks by over 90 artists. I can only mention a few of them here, which is a shame since there is so much strong art included.

    Some of the work is a few years old, such as Mark Steven Greenfield’s house-shaped wall hanging that includes an old photograph of his mother on a tapestry that is suspended under a white triangular roof. At the bottom of the piece is a black disc etched with her words, “We’re never gonna survive unless we get a little…crazy.” I think of how women were declared crazy and incarcerated in insane asylums when they stepped outside their socially proscribed roles.

    On the wall opposite Greenfield’s piece is Joey Forsyte’s assemblage of neon, a photograph, glass teardrops, a pair of her mother’s eyeglasses, a video, and a stack of burned books. A framed white square encases the words, “When an elder dies, a library burns…African Proverb.” I think of the recipes and other wisdom lost when my grandmother died, and how much my own mother took with her.

    Many artists made new work for the show. Kristine Schomaker shredded stacks of letters written to her mother as well as entries from her journal. The resultant confetti was stuffed into glass cake stands. Arranged on a short white shelf, they imitate pastries as objective correlatives of the female knowledge shared between mother and daughter. (Exactly what did my mother do to those German Chocolate Cakes to make them so yummy?!!)

    Abeles’s exhibition has two distinct but related parts. The first involves the larger works in the main gallery, like those of Greenfield, Forsyte, and Schomaker. The second part is a group of 45 petri dish portraits on display in a narrow gallery carved out of Abeles’s own studio space. Some of the petri dish images are achingly beautiful, like Mary Allan’s painted heart and Jill Syke’s noir-ish depiction of her mother smoking. Others are sentimental, with wistful longing, like Barbara T. Smith’s portrait including her mother’s lace purse, a photograph, and a jeweled shoe buckle. Then there are the umbilical cords of Thinh Nguyen and his siblings, that the artist’s mother carefully preserved in tiny knitted bags.

    Still other petri dish examples are frankly disturbing. Like Susan Feldman Tucker’s portrait crossed by slivers of text representing fragments of conflicted thoughts: “toxic behavior,” “ill at ease,” “personal assaults,” and “angry.” (I’ve had all those thoughts about my own mother, so I can totally relate…)

    Margaret Atwood reminds us, ” No mother is ever, completely, a child’s idea of what a mother should be…” I suppose this is true. Kim Abeles’s powerful exhibition allows us to unpack the full panoply of children’s thoughts about their mothers. As it happens, all of the participants are adult children who are now artists. It is in their creative work that they have found the way to unpack and engage with such thoughts. Fair warning: Anyone who visits this visually appealing and emotionally intense exhibition will be compelled to consider their own ideas about motherhood. As I was forced to do.

  • MaximillianGroup 11:10 AM on 21 May, 2018 Permalink | Reply
    Tags: , , , , , , , , , , , , , , , , Carl Berg, , , DENK Gallery, , dtla, , , , , , , , , , , , , , Pace gallery, palo alto, , , , , Tim Hawkinson   

    Studio Visit: Tim Hawkinson, The Indices of the Unknown 

    Studio visit: Tim Hawkinson. Photo Credit Gary Brewer

    Studio Visit: Tim Hawkinson, The Indices of the Unknown

    “What is an idea? It is an image that paints itself in my brain.”

    By Gary Brewer

    Art is a philosophical quest – it is a method of discovery – in the right hands one can use it to become a vehicle to question and search for how we think and feel. Our perceptual limitations are hidden from us and through the lens of art we can explore the secret aspects of our bodies, minds and the universe; the indices of the unknown.

    Tim Hawkinson is a protean artist. His work is driven by ideas. In the realization of the means to express these ideas, his work becomes an obsessive act of exploration and discovery. His work explores the space between self-perception and the hidden reaches of the body. “We carry a map of what we look like and how we appear to others but much of our bodies are hidden from our view, we cannot really know what we look like. We have these little brains that cannot quite understand the body. We cannot see much of it, be we feel confident that we know what we look like. I still feel like I am in the body of a child, but recently my daughter took a picture of my wife and I dressed up for an upscale event. When I saw the photo I looked like my grandfather; it was a shock”. The primal schism between what we think we know and the hard facts of reality is one of the avenues that Tim Hawkinson traverses in his varied, multi-tiered and imaginative approach to creation.

    “I focus on one part of the body, the rest of reality is a casualty of creation. I scavenge for odd logic, for the unexpected.” Years ago I saw a sculpture titled “Head”; it was a mold, for lack of a better term, that he had made by painting countless layers of latex on the inside of a bathroom. Sink, tub, toilet everything was captured. He pulled it free and hung it in the middle of the gallery and inflated it. It was a remarkable object that engaged but defied recognition. It took several moments to start to identify its component parts, “There is a toilet, that is a sink”. Slowly one came to realize what it was. The strangeness of the revelation of identifying it, and the raw power of its sculptural form was intoxicating. Like an object from another culture or world, it held one in its grasp, without knowing what it was or what it meant. Next to it, hanging and inflated, was a latex ‘skin’ of Tim’s naked body, seemingly floating in space. When I asked about these two pieces Tim replied, “It was a part of my inflatable series, I had already done my body and the bathroom was a logical correlation; it is a room where the bodily needs are taken care of. I had no idea of what it would look like, I was just following the odd logic of the idea.”

    Studio visit: Tim Hawkinson. Photo Courtesy Tim Hawkinson

    Our senses are limited, imagination fills in the blind spots. We have a collective faith in the conceptual maps that culture, belief and our limited understanding of the universe gives us. It informs and shapes the way we interpret our experiences. Tim Hawkinson has created works that explore the dark matter of our world. He searches and finds representations of the immaterial stuff that informs and shapes our consciousness. An idea becomes a methodology for mapping the contours of that which is just out of reach, around the corner from cognition. Many years ago he created a piece “Blind Spot”, in which he photographed all of the parts of his body that he could not see and then pieced them together to create a strange map of the unknown. The result is an astonishing work. It is in the realm of the grotesque but has the innocence of a child endlessly asking questions about the world. The piece reflects an existential curiosity combined with a remarkable ability to discover uncanny formal means to resolve the quest. It could be a map, or the hide of an unknown animal. From the anus, up the lower back following the spine and spreading wider from bottom to top; it is a continent of the unknown, the parts of the body that remain hidden to our eyes and to our closest ally; self.

    When I visited Tim in his studio he was working on a piece that was quite different. He was using his body to create an eccentric image of a twisting figure. The image was made by Tim standing on a base, which was slowly rotating while his wife, Patty was taking photographs, shooting approximately 1 frame every couple of seconds, resulting in about one hundred images per rotation. He then cut ¼ inch wide horizontal strips and collaged them together in descending order. Depending on where he started in the sequence, a different perspective of the figure was given, creating the appearance of a twisting figure. After he completed them he saw that the piece had a connection to the Baldachin, the spiral pillars by Bernini, over the high altar of St. Peters Basilica in Rome. The piece looks like a digital, 3-D scan of some kind. The four images of Tim’s body as spiraling columns of flesh with the strange distortions make it slightly grotesque. The body twisting maelstrom-like, suggests an image from Dante’s inferno, or of some mythic narrative of a genie emerging from a bottle. It also alludes to Hockney’s “Pear Blossom Highway” and Hockney’s efforts to articulate a challenge to the dominance of single point perspective. In Tim’s piece he is traveling through a wormhole of form and history, the contours of his body shape shifting into this classical masterpiece of religious art and architecture.

    Studio visit: Tim Hawkinson. Photo Credit Gary Brewer

    We spoke at length about how he “scavenges for odd logic”, searching for materials that suggest ideas to explore. “One piece may lead to another or something may come to my mind fully formed.” His studio is filled with an assortment of objects that he has collected. He is scavenging his studio for synthetic amber, the leftover artifacts of materials that have dried in their can or bottle, left unused for too many years. Resins, enamels, mold making materials that have solidified, have been pried from their containers and now adorn the shelves and ledges of his studio, awaiting the moment when an idea will give them formal and narrative purpose. He has many musical instruments in his home and studio, violins and instruments he has made. Indeed, sound has been a component in many of his works.

    A piece in the studio, “Tiara”, is a large tiara made from recycled silver plastic objects. It is on a structure that has a motor attached that slowly turns it round and round. In the middle are small metal tanks that once held oxygen or other gases. He has created a musical instrument of sorts with these recycled tanks. As the piece turns, balls tumble about inside the tanks, creating soft metallic sounds, not unlike a steel drum. “The patterns never repeat, it rotates on two axes, so that there is no discernable patterns. The piece is a reflection of my daughter who is fourteen. Somehow it is about growing up and the innocence of youth.”

    I was asking many questions trying to find a frame or structure through which to contain the tentacle-like imagination of this protean artist who seemingly discovers his formal inventions in the blind as it were; finding an idea first and then in episodic epiphanies, each step forward reveals the formal means to give shape to his ideas. In this subjective methodology Tim arrives at remarkable sculptural objects.
    As we spoke he said, “I have approached making my sculptures and images from many different ideas, using my body is just one of them. Recently I have wanted to use my body to tell stories. The piece over there is a representation of Moby Dick using my body parts to reenact the image of the whale, the ship and the men lost at sea. I am not sure of the title yet, whether I will include Moby Dick in the title or not.”

    The piece sat in the corner, a slightly comic hand-made bathtub that could have been designed by Robert Crumb contains casts of the knees, feet, and fingers of Tim’s body. Blue denim material from Levi’s pants, have been cut with holes in them, to allow these elements to protrude; the Levi’s are the water of the sea, a knee bent with the calf and thigh articulate the form of the great white whale, his two feet are the fluke, his fingers and hands become the ship and the men lost at sea. It is both comic and tragic, containing the pathos of the scene but with an element of comedy; humor and pathos have always been present in Tim’s work.

    To be an artist is to reflect a spiritual truth about the creative impetus, the mysterious force that forms our world. Many faiths ascribe different stories to creation, but the state of grace that has brought our world into being and our ability to think, feel, love, remember, and imagine is a mystery that art touches upon. We are part of a river of creation that from the beginning of time, has flowed through the universe. To create, to care, and to bring forth the fruits of our creativity is to be an agent of this mystery.

    Tim Hawkinson’s work touches upon some of the deepest quandaries of self and consciousness. He does so with a scale of imagination that bends the mind to consider the unknown, with a blend of humor and pathos. His materials are common objects from the world we know – that through alchemy – are transformed into conduits of his imagination. In this act of creative transubstantiation, the world we know is renewed, and our sense of the skin we live in is transformed.

    Pace Gallery, Palo Alto. Opens July 25th and on view through mid September 2018
    Denk Gallery, Los Angeles solo show 2019

  • MaximillianGroup 8:44 AM on 18 May, 2018 Permalink | Reply
    Tags: , , , , , , , , , , , , , , , , , , Constance Mallinson, , dtla, , , , , Francesca Gabbiani, , , , , , , , ,   

    Francesca Gabbiani at Gavlak Gallery 

    Francesca Gabbiani, One Eyed Jack, 2016-2017, Ink, gouache and colored paper on paper at Gavlak Gallery. Photo Courtesy of the gallery.

    Francesca Gabbiani at Gavlak Gallery

    Through May 26

    By Constance Mallinson

    In her current exhibition Francesca Gabbiani continues her longstanding practice of collaging evocative imagery intricately cut from multi-colored papers to create allegories of life and death. A “goth” aesthetic appropriately prevailed in her previous work as owls and skulls were intertwined with sensuous florals to evoke ornate funerary wreaths. In “Vague Terrains/Urban Fuckups”, however, the cut paper flora finds itself almost clinging to life among the brambles and weeds in large scale ink and gouache drawings of abandoned and decaying urban spaces. Working painstakingly from personal photographs, Gabbiani renders thousands of shards of crumbling concrete and tangled vegetation to form exquisite webs of intersecting contour lines punctuated with splashes of descriptive landscape colors. Alternating between abstraction and figuration, flatness and illusion, the drawings deftly employ the tensions to full effect, as viewers must negotiate between the aesthetic pleasures or “ruin porn” of her teeming surfaces and the dystopic nature of the scenes.

    The artist is finely attuned to the symbolisms afforded by these ruined sites and her compositional skills and manipulation of perspective are fully employed to conjure metaphors of pressing environmental, economic and sociological dilemmas. In “The Unresolved Story” a dilapidated outdoor stairway winds it way from the bottom of the picture almost reaching an opening in a wall at the top of a hillside landscape where blue sky awaits. This figurative up-or-down climb seems to signify choice over our collective fate.

    Overlapping deteriorating natural and human made materials suggest a mountainous landfill extending to a sky crisscrossed with droopy telephone wires in “Vague Terrain”. Perhaps the outdoor phone lines are meant to express an outmoded technology, a bygone era. Gabbiani’s favored territories are the disintegrating remnants of structures in deserted and desolate spots slowly being “reclaimed” by nature represented by colored swatches of cut paper foliage. She is drawn to refuse and the amorphous aftermath of the wrecking ball, an overly familiar sight in our cities today as the past is quickly erased for immediate commerce. Despite the human propensity to “fuck up” abundantly suggested by her images, the painter always provides optimistic glimmers of renewal and possibilities for a change in consciousness elicited by the brilliant sprouting leaves and limitless expanses of the upper atmosphere.

    Gabbiani is heir to a long tradition of picturing ruins beginning in the 18th century with the Italian Giovanni Battista Piranesi whose detailed etchings of fallen Roman structures and labyrinthine prison interiors began a centuries long examination of civilization’s hubris and a confrontation with narratives of progress. The Romantics perfected ruin worship as landscape painters and poets obsessed in states of melancholy over nature as an antidote to rampant Industrialism, hyper-rationalism and the impending dark side of Modernity. Locating viewers somewhere between nature and culture, the past and present, ruin depictions and sublime landscape imagery henceforth became imaginative spaces to meditate on transience, precarity, and mortality.

    Contemporary German artist Anselm Kiefer with his post-Nazi scorched earth and decaying grand architecture imagery or American painter Alexis Rockman with his post- apocalyptic underwater metropolises continue these critiques of utopian narratives. Like Kiefer whose blackened canvases are reminders that empires and isms built on easy ideologies inevitably collapse, Gabbiani’s fractured surfaces speak of the fragility of present empires built on a global capitalist machine, its denial of history’s lessons and rapacious reach into the future. She takes us to the overlooked places where trash is accumulating, infrastructure is deteriorating, and the environment is increasingly compromised.

    To borrow a phrase from landscape theorist J.B. Jackson, she embraces “the necessity for ruins” for keeping in play the compelling questions they raise. Gabbiani’s carefully placed intrusions of nature among the ruins, however, seem to inexorably point us toward poet Robinson Jeffers’ words: “the flower will fade to make fruit, and the fruit will rot to make earth.”

    Gavlak Gallery
    1034 North Highland Avenue, Los Angeles, CA 90038
    Hours: Tuesday – Saturday, 10:00am – 6:00pm

  • MaximillianGroup 10:06 AM on 16 May, 2018 Permalink | Reply
    Tags: , , , , , , , , , , , , , , , , , , dtla, , , , , , , , , , MAF, , , Olafur Eliasson, , , , Reality Projector, , , , The Marciano Art Foundation   

    Olafur Eliasson’s Reality Projector at the Marciano Art Foundation 

    Olafur Eliasson’s “Reality Projector at Marciano Art Foundation. Photo credit: Lawrence Gipe.

    Olafur Eliasson’s “Reality Projector” and other works at the Marciano Art Foundation

    Through August 26

    By Lawrence Gipe

    After all these years, is it fair to ask if “site-specific” art has gotten a little stale? In the 1970’s, it was cutting-edge: the notion of the “expanded field” (often expressed through the burgeoning environmental art movement) extracted the static art object out of the museum and thrust it into the real world. Artists like Robert Irwin and Alice Aycock, to name but a few, responded to the topography of a given site; there they invented a new and seemingly boundless genre of sculptural practice that offered audiences the ability to view both the context, and the object, in a completely different conceptual light. Later, in the early 1990’s, political artists like Fred Wilson “mined the museum” for artifacts in another brand of site-specificity; he ruthlessly interrogated the historical objects found in museum archives, to make installations that turned the institution inside out, revealing the tawdry, racist foundations on which it was built.  

    Now we’re decades on – with many Documentas and Biennales under the bridge. It seems appropriate to ask whether this idea of interacting with a specific location has lost its provocative value. Today, curators continue to routinely employ this tactic – it’s basically the stock and trade of the international blockbuster show. It’s certainly no “shock of the new” to see an artist creating work that is dependent on a backstory, one based on the political environment of the institution, city, or landscape. Artists choosing to make more “autonomous” work, not tethered to the context in which it’s shown, are mainly excluded.  

    All this said, Olafur Eliasson has a track record of transcending the contemporary pack, by dint of his innovative imagination (and with the helpful assistance of multi-million dollar budgets.) One of the most successful pieces in this vein, “The Weather Project”, took over the great hall of the Tate Modern 15 years ago in 2003. Art critic Brian O’Doherty , interviewed in Frieze that year, memorably remarked that it was “the first time I’ve seen the enormously dismal space—like a coffin for a giant—socialized in an effective way.” The ceiling of the hall was converted into a huge mirror, and (in a manner similar to Anish Kapoor’s “Bean” sculpture in downtown Chicago) the interface with the public was immediate, narcissistically selfie-stimulating, and, in its spectacular way, enduring in the memory.

    Unfortunately, Eliasson’s latest installation at the Marciano Art Foundation, called “Reality Projector”, delivers very little in the way of even a memorable afternoon. Problem one is the nagging misstep that installation artists make: assuming that a soundtrack will heighten or mitigate an otherwise underwhelming experience. Here, Eliasson collaborates with a composer to fashion what can only be termed “the usual” – a pseudo-haunting, reverb-heavy sonic fabric of thuds and clanks that pretends to drench the room with a sense of portentous doom. We are, after all, watching patterns on the wall. This ever-shifting (but not entirely fascinating) light-work is produced by two, high-intensity stage lights on tracks that beam through colored gels arranged in the trusses that line the ceiling of a former theater in the Marciano. Eliasson allows this optic system to operate without any mystery, begging the instantaneous question: “Is that it?” It is, indeed. Although the resonance of the piece accrues slightly as one tromps around the space, and the natural mixing of colors that occurs as the light travels past different filters is interesting, “Reality Projector” seems like Much Ado About Nothing – a disappointing west coast outing for this often transformative artist.  

    A concurrent project upstairs at the Marciano offers another brand of site-specificity, albeit much less literal than “Reality Projector”. In the Marciano’s Lounge Gallery the work of two German painters, Albert Oehlen and Peppi Bottrop, are displayed in a collaborative installation called “Line Packers”. Like Eliasson, Bottrop was invited to make works in reaction to the architecture of the gallery (there is nothing intriguing about this particular gallery’s structure except a window, but rules are rules.) Albert Oehlen is arguably one of the best painters of the past 30 years, and has admirably balanced a mainstream career with adventurous chops. Even in the dreariest of art fairs he hits home runs, with epic canvasses that threaten to burst out of the booth. But, in “Line Packers”, Oehlen seems content to bunt; while his connection and rapport with Bottrop seems unforced, the final result on view is a clunky, and curiously sterile, pas-de-deux.       

    Bottrop starts with a promising premise, mooring the work within the context of his birthplace in the industrial Ruhr Valley of Western Germany. He uses charcoal as the media of choice, with the intent of connecting this material conceptually to coal – the substance that has historically fueled the region’s steel trade. While none of these details could possibly be gleaned without text to fill us in, the backstory is sound enough. How this information is manifested visually is the problem; Bottrop’s style is un-ironically “expressionistic” in the Twombly mode, and the results feel dated and familiar. Oehlen’s contributions are a tad passé as well. His “Computer Drawings” (1992-2008) are mounted on top of Bottrop’s gestural background. According to the PR, these are historically significant works, to the point of re-defining painting itself. The verbiage released on the website, painful though it may be, is worth citing in full:

    “Oehlen’s Computer Paintings, which will be affixed to Bottrop’s walls, made between 1992 and 2008, exemplify Oehlen’s pioneering role as one of the first contemporary painters to explore the nascent capabilities and limits of drawing and line-making through the use of a now-rudimentary Texas Instruments computer. The wall-drawings and supports by Bottrop juxtaposed with Oehlen’s Computer Paintings suggest new possibilities for the line in painting. This line, embedded materially into the…walls, offers a proposition for the medium of painting to re-define itself. The two autonomous, yet mutually-dependent works establish a place of intensive communication and self-exploration, supporting one another in this single, temporary unification that looks to Wilshire Blvd. and Los Angeles, a city that is just as easily defined by its own lines of interstate and highway infrastructure.”  While this text doesn’t set a new world record for obfuscating art-speak, the wild-eyed, hyperbolic delivery only serves to burden the piece with unrealistic expectations. The accompanying essay, which reads like a victim of “Google Translate”, only muddies the waters further.

    Regarded together, these two installations at the Marciano make a good case for artists making work outside of the institution. It may be harder to make a living that way, but art that arrives DOA isn’t authentic, or elucidating.

    Marciano Art Foundation
    4357 Wilshire Boulevard
    Los Angeles, CA 90010


  • MaximillianGroup 10:19 AM on 14 May, 2018 Permalink | Reply
    Tags: , , Andy Moses artist, , , , , , , , , , , , , , , , , , , dtla, , , , , , , , , , , , ,   

    Studio Visit: Andy Moses, Ecstatic Resonance 

    Andy Moses, studio visit. Photo credit: Gary Brewer.

    Studio Visit: Andy Moses, Ecstatic Resonance

    “I sing the body electric… I do not ask any more delight, I swim in it as in a sea… As I see my soul reflected in nature…”
    Walt Whitman, Leaves of Grass


    By Gary Brewer

    Every nerve fiber resonates to the rhythms of nature; the infinite space of the horizon, or the sparkling sunlight on the sea in autumn. The exhilaration of riding waves, waves of energy that have traveled vast distances through the open ocean, to arrive at the shore. When surfing, the body works in concert with natural systems to cut a line through the water, accelerating, turning and using one’s weight and balance to interact with the energy of the sea. Surfing is a skill learned in somatic, nerve sensitive responses to instantaneous shifts and changes in the wave’s movement. Time slows as the wave envelopes you; seconds are like minutes as one races within its watery chambers.

    How does one find a sublime expression, as a painter, to reflect the ecstatic experience of the body at it’s most vividly alive?

    Andy Moses has spent years experimenting and exploring to find a process-oriented approach that brings this intensity and immediacy to the experience of painting. It may takes days, weeks or a month to prepare for a painting; experimenting like an alchemist to learn about the interaction of pigments, colors, and viscosities, to arrive at the foreknowledge needed to create one of his rich, vibrant paintings.

    Once the research is complete and the painting is ready to be realized, it is an exhilarating experience making the work; decisions are made in split seconds. “When I am painting, every nerve fiber in my body is alive; time slows. I am fully engaged with decisions that have to be made in seconds. What I can see happening in the painting two seconds in, will be completely different seven seconds later. The pouring and manipulating of paint is an experience that makes me feel fully alive. I try to move seamlessly through the process. I am trying to create an experience that stands apart from me; I want to make paintings that take you on a journey.”

    Andy grew up in Santa Monica Canyon; the view from his home was of the ocean, the sky, and the horizon. The feeling of infinite space and the sublime light of the sea and sky left a deep impression that would influence the aesthetic arc of his development as an artist. In his youth, surfing was everything to him; the intensity and immediacy of somatic responses to split-second stimuli would also find its way into his work. He said of this, “When I went to Cal Arts the teachers discouraged painting, the emphasis was on conceptual art, performance and installation work, they felt that painting was dead. I was working in avant-garde film and performance. In my last year of school I decided to experiment with painting; the moment I touched the material there was an immediate chemical reaction. I felt the same ecstatic experience and excitement that I feel in surfing. I moved to New York in 1980 where there was an explosion of painting going on. My first job was as a studio assistant to Pat Steir; her work along with Schnabel, Salle and Basquiat was roaring onto the world stage. It was the first time that I saw the work of Kiefer, Polke, and Richter as well; these painters had a big impact on me. The historic abstraction of artists like Rothko and Pollock also influenced my development; especially Pollock’s “Autumn Rhythm” at the Metropolitan; the movement and space that he created, his novel use of paint, and the way that he was allowing a process-oriented manipulation of the materials to realize his paintings, affected me deeply. I began my first series of paintings, mixing oil paint with water. I worked in black and white and painted flat on the floor. These works developed and organically evolved through the decades to the paintings I am now making.”

    Andy spoke about movement as a philosophical statement; that in dynamic movement it becomes harder to fix meaning. He spoke of his work as anti-didactic; that the efforts to explain and identify meaning are harder to pin down within space in motion. It is a reflection of Andy’s physical embrace of the complexity of this living universe of which we are a part. Systems that unfold in deep time, geological movement, the evolution of life and the emergence of consciousness are all mysteries – that despite our best theories at explaining them – elude concrete answers. “ When I was growing up, our home was filled with paintings. We had a Sam Francis painting and my Dad said of it “No one knows how he makes them.” This really captured my imagination – the idea of something that was a secret, that was unknown. I became interested in alchemy and I think of artists as alchemists. We manipulate matter and turn it into something that is living – we embed thought and memory into the materials. Great paintings have an immediate impact – they capture your imagination and take you on a journey; I strive to create that in my paintings.”

    His paintings are both abstract and imagistic – they record the process of their own creation – but also suggest myriad worlds of meaning. The complexity that Andy has mastered, his ability to find fresh and novel approaches within the method of pouring and moving paint, has given him the ability to create works that look like lava flows, or the atmosphere of another planet. They evoke cosmic and celestial images, Tantric symbols of the primordial egg; the rich intense ribbons of chromatic movement fixed in time also suggest psychedelic experiences and universal consciousness. These are masterful works that express philosophical ideas of deep time; a spiritual sense of the wonder of nature, and the mystery of existence.

    “I am in a conversation with the history of painting, from the chromatic atmospheric colors of Titian to the luminous light and rich palette of Turner, through Pollock to the present. I want to leave something, to make a statement and leave a memory trace of my ideas about painting and reflect the world I live in. I am also seeking those moments of rapture, when every nerve ending in my body is alive and all of the synapses are firing. To be fully engaged; this is what I strive to do in my work.”

    Painting is a protean medium. It is supple and yields its fluid quicksilver qualities to the mercurial properties of the mind and of our emotions. In its dexterity artists through the ages have found ways to create metaphors that speak of their times. In the eggshell quietude one finds in the work of the early Northern Renaissance painters, to the bold painterly subjectivity of Rembrandt, and forward, to the search for speed and immediacy, that reflected the pace of a rapidly changing world in Jackson Pollock’s drip paintings; artists have sought and found an emotional tone that captures the feeling of the times in which they live.

    Andy Moses creates paintings in a world where fractals speak of the mirroring of systems from the microcosm to the macrocosm; of theories of multiple universes and reality as a holographic projection from the edge of the universe. His paintings delight in the intrinsic mysteries of painting’s ability to reflect one’s time and capture an essential aspect of the artist’s individual soul. His works transport us on flows of ideas embedded in brilliant color chords that carry us to the edge of the known universe.

    Our place in the universal scheme of things is mysterious; we know that the best knowledge that we have today will be revised and altered through new discoveries that will come tomorrow. These paintings, in whose movement and dynamism free the mind to explore the contours of the unknown and to revel in chromatic music, express an ecstatic embrace of the body electric.


    Upcoming Exhibitions:

    Inaugural show at J.D. Malat Gallery, London in June
    Group show at William Turner in the Fall
    Solo show next spring at William Turner
    Exhibition at Melissa Morgan next spring


  • MaximillianGroup 9:40 AM on 11 May, 2018 Permalink | Reply
    Tags: , , , , , , , , , , , , , , , , , , dtla, , , , , , , , , , Martin Cox, , , Museum of Ennui, , , , , , , The Closet in Shoebox, The Shed Collective   

    Martin Cox’s Museum of Ennui in The Closet at Shoebox Projects 

    Martin Cox’s Museum of Ennui at The Closet in Shoebox Projects. Photo credit: Kristine Schomaker.

    Museum of Ennui: Nothing Existentially Boring Here

    Museum of Ennui by Martin Cox
    in The Closet in Shoebox Projects
    Presented by The Shed Collective
    Through June 2


    By Genie Davis

    At Shoebox Projects – in the closet – and closing June 2nd, is one of the most unique and diminutive art exhibitions in Los Angeles. That would be the Museum of Ennui, created by British-born and Los Angeles-based artist Martin Cox.

    The terrifically curated tiny space features the work of artists Anna Amethyst, Cynthia Minet, Douglas Hill, Gary Edward Jones, Jessie Rose Vala, Julie Murray, Katrina Alexy, Kim Abeles, Kirthana Devdas, Kristine Schomaker, Maggie Lowe Tennesen, Marina Rees, Martin Cox, Nataliya Petkova, Röðull Reyr Kárason, Rose Portillo, Ryan Hill, Sally O’Reilly, Sara Jane Boyers, Scott MacLeod, and Thora Solveig Bergsteinsdottir.

    Cox was inspired to create the walk-in, fits-maybe-two closet gallery while attending the Fjuk Art Center Residency in Iceland in 2016 and getting trapped in the house by a blizzard. “Out of nowhere the title ‘museum of ennui’ just came to me. I did not know what to think at first, but as other artists will recall, sometimes a buzzing excitement accompanies an idea, then you know you have to explore it. I felt like I was on to something.”

    Ennui is a French word with no true English equivalent, a kind of existential, melancholy boredom as Cox describes it, and what he recalls as “often the subject of lengthy introspective discussions as if we had discovered some alternative plane of existence” as a teen. While this sensation was an inspiration for the museum, so too was a visit to the quirky private Whitby Museum on England’s Yorkshire Coast, and the variety of offbeat museums in Iceland where Cox’s blizzard-bound art residency took place.

    “There are many small idiosyncratic museums like The Phallological Museum -penis museum, Museum of Sorcery and Witchcraft, and the Icelandic Wonders Museum,” he explains. Additionally NuMu, the Nuevo Museo de Arte Contemporáne, arrived at LACMA from Guatemala. The small egg-shaped museum was another inspiration.

    Add to all these Cox’s thought that the idea of ennui itself might need a museum to avoid extinction, as the word is little used these days.

    “I see ennui as an ever more important ingredient in human survival, in an age of ultimate distraction. Devices, algorithms, news, fake and otherwise, and outrageous politics all fill our every waking moment. That all too rare moment where there’s the possibility of boredom or day dreaming is constantly snatched away. Without some internal silence and separation where we can experience dissatisfaction with the present, will the future be ever darker?” he says. “For artists particularly, I think creativity and ennui are closely entwined. Ennui is a starting point because discomfort is the price of admission to a meaningful life.”

    Martin Cox’s Museum of Ennui at The Closet in Shoebox Projects. Photo credit: Genie Davis.

    And so, the Museum of Ennui was conceived, and born, initially through a series of audio interviews and recordings. “I asked people about their experience with ennui, and quickly the topic turned to ennui in art, and what it may become as a painting or object,” he relates.

    An initial iteration of objects made by artists he’d invited to contribute appeared in a display case within his solo exhibition at the Husavik Museum in Iceland. Headphones played the original interviews and sound tracks that included sounds of rigging creaking, eider ducks, and rain falling.

    The Los Angeles location came about when Kristine Schomaker of Shoebox Projects and The Shed Collective invited Cox to consider this former broom closet as his exhibit space.

    “I painted it white, added lighting, gave it a unique door and floor color and set about finding the work. The invitation and resulting dialogue with the artists felt very collaborative and exciting for me. They all had a fairly short timeframe to come up with something and responded swiftly,” he reports. “I asked many more artists in my network, some well-known, others intermittent with their output, the same question ‘What would ennui look like if it were an image or as a piece of work?’”

    Responses included unique objects which Cox placed in identical white frames and hung in the museum, as well as digital files, requested so he could control size in the small space. He’s done a terrific job of exhibiting the works.

    Viewers have the sensation of being closed inside a small, restrictive chamber of art, from which escape is not necessary. After a moment of realization – yes, it is small in here, isn’t it? – one has the sensation of having everything one needs to experience contemplation, imaginative connection, and a delightful sense of repose. Being “trapped,” a viewer can take in each small, perfect, disparate, and somehow poignant element; listen to the audio tracks Cox has programmed, and metaphorically at least, float away to another place to muse on what is being seen, or perhaps turn inward, to one’s own thoughts.

    “The scale of the museum became a draw of its own,” Cox states, “Having a small door and space for only one person was a wonderful device to give visitors their own private moment, to immerse them within the subject.”

    The use of an audio track further sustains the sense of being in a private, separate, cushioned world. “I was keen to include many different media into the collection,” Cox explains. “Photography dominates, but there are also mixed media pieces, sculpture, paintings, collage and literary works, even a poem in computer language, so it was natural that I invited a sound artist, too. I also decided to include the first interview I made initiating the original project.”

    As self-contained as the MoE project is, it also allowed Cox to engage in dialog with other artists, a welcome break from his solitary artistic practice. “I am usually engaged in examining mostly depopulated and far-flung locations through photography. In a sense, it would appear that this project bore no relationship to my previous work exhibited in galleries and museums.  If you go back far enough there are installations, and performances and collaborations in my past work. Looking at the themes in my photography, they actually all touch on ennui and entropy, and an ever-present theme of holding space.”

    Cox adds “I hope the jostle between humor and sincerity of the project comes through. For the visitor, the museum can serve as permission to detach, to look within while at the same time offering stimulation and nurture new ideas.”

    A new idea for Cox himself is the continuation of the project. “I feel that the Museum of Ennui is in a liminal phase and may pop up in a variety of guises.  Keeping the scale small affords me the luxury to try things out, and so long as the idea generates interest from artists to explore this realm with me, then it has a future.”

    He’s considering a mobile version towed to different locations, a gallery in an English red phone box, and website exhibitions of the project. For now, viewers have a chance to experience the space Saturday June 2 from 3 to 5 p.m., or by appointment.

    To view the exhibition by appointment between now and June 2nd
    contact Cox at photos@martincox.com
    Visit online at museumofennui.org  See an invitation to become paid “Bored Members” to support the next version of the project.

    The Shed Collective was created when four artists decided to host art events in their sheds and closets. Coined “the alternative to alternative galleries” a group of sister galleries emerged. Inspired by spaces like “Elevator Mondays” and Gallery 1993 and believing that artists have to create their own opportunities to exhibit and curate, the first show opened at “The Closet” an annex in the Shoebox Project space at the Brewery on March 17th.

    As an experience, The Shed Collective attempts to capture the imagination in its challenging of existing modes of presentation of contemporary art. It responds both to the artist’s need to experiment and curator’s need to stage exhibits in unconventional spaces in order to engage new dialogues. Seen together, The Shed Collective fluidly explores both artistic and curatorial conditions in its varied spaces. Formed by Kristine Schomaker, Cathy Immordino, Sheli Silverio, and Diane Williams, the group aims to more efficiently enact the presence of art in varied communities throughout Los Angeles and capture a unique sense of diversity and character within each of its spaces and projects.

    Closing reception Martin Cox’s Museum of Ennui at ‘The Closet in Shoebox Projects’ presented by The Shed Collective
    June 2, 3-5pm.
    May also be seen by appointment


    The Closet in Shoebox Projects
    660 South Avenue 21 #3
    Los Angeles Ca 90031


  • MaximillianGroup 11:37 PM on 10 May, 2018 Permalink | Reply
    Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , dtla, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,   

    What’s Hot in L.A.? Art Events You Should Check Out 

    Affinity and Distance-Chas Schroeder & David D. Sutherland at Chimento Contemporary

    What’s Hot in L.A.? Art Events You Should Check Out


    May 11th

    Affinity and Distance-Chas Schroeder & David D. Sutherland
    Chimento Contemporary
    622 S Anderson St, Spc 105, Los Angeles, California 90023
    Opening May 11, 5-8pm
    For more information

    Art Float – Riverside May 11 – June 1
    Fairmount Park (Riverside, California)
    2601 Fairmount Blvd, Riverside, California 92501
    Opening May 11 to June 1st
    For more information

    Asking for a Lot – Nicole Linh Anderson
    Junior High
    5656 Hollywood Blvd LA Ca 90028
    Opening May 11th 7-10pm

    Beyond Baroque Literary/Arts Center & Theatre
    681 N. Venice Blvd, Venice, California 90291
    May 11th 1030 to May 12th 1200

    Material Language
    Spring Arts Collective
    453 S Spring St, Mezzanine, Los Angeles, California 90013
    Opening May 11, 6-9pm

    May 12th

    2018 Annual Exhibition
    Otis College of Art and Design
    9045 Lincoln Blvd, Los Angeles, California 90045
    Opening May 12, 12-9pm

    Alika Cooper – BUOY
    ODD ARK Los Angeles
    7101 North Figueroa Unit E, Los Angeles, California 90042
    Opening May 12, 4-8pm

    April Bey – Made in Space
    Band of Vices
    5376 W. Adams Blvd, Los Angeles, California 90016
    Opening May 12th, 6-midnight

    BoldPas: An Art Takeover of Old Pasadena
    Old Pasadena
    23 E Colorado Blvd, Pasadena, California 91105
    Opening May 12th, 12-8pm

    Camille Rose Garcia, Ewa Prończuk-Kuziak, Jon Fox + Sush Machida
    571 S Anderson St, Los Angeles, California 90033
    Opening May 12, 7-11pm

    Conceptual Feedback
    Honor Fraser Gallery
    2622 S La Cienega Blvd LA Ca 90034
    Opening May 12th, 4-6pm

    Art No Cube
    3830 Main St, Culver City, CA 90232-2620
    Opening May 12, 7-10pm

    Deborah Roberts: Fragile but Fixable
    Luis De Jesus Los Angeles
    2685 S La Cienega Blvd, Los Angeles, California 90034
    Opening May 12, 6-8pm

    The Eye Sees Not Itself | Opening Reception
    Nicodim Gallery
    571 S Anderson St, Los Angeles, California 90033
    Opening May 12, 6-8pm

    In the Now Figurative
    6023 Atlantic Ave., Long Beach, California 90805
    Opening May 12, 7-11pm

    Katie Grinnan: Electric Data Wave Serenade
    Patricia Fernández: Box (a proposition for ten years)
    Commonwealth and Council
    3006 W 7th St Suite 220, Los Angeles, California 90005
    Opening May 12, 3-6pm

    Santa Monica Art Studios
    3026 Airport Avenue, Santa Monica, California 90405
    Opening May 12th, 6-9pm

    Opening Reception Paper Giants L.A. & Erica Entrop
    Lois Lambert Gallery & Gallery of Functional Art
    2525 Michigan Ave Ste E3, Santa Monica, California 90404
    Opening May 12, 6-9pm

    Painting Installation at MOAH
    High & Dry: Land Artifacts Opening
    Sant Khalsa – Prana: Life with Trees
    Lancaster Museum of Art and History – MOAH
    665 W Lancaster Blvd, Lancaster, California 93534
    Opening May 12th, 4-6pm

    Paper Giants L.A. & Erica Entrop
    Lois Lambert Gallery & Gallery of Functional Art
    2525 Michigan Ave Ste E3, Santa Monica, California 90404
    Opening May 12th, 6-9pm

    Per Proscenia
    JOAN Gallery
    1206 South Maple Avenue, Suite 715 Los Angeles, California 90015
    Opening May 12th, 5-8pm

    636 Cypress Ave, Hermosa Beach, California 90254
    Opening May 12th, 7-9pm

    Simone Gad: Fu Dogs on Black
    BG Gallery, Santa Monica
    3009 Ocean Park Blvd, Santa Monica, California 90405
    Opening May 12, 5-8pm

    Camille Rose Garcia, Ewa Prończuk-Kuziak, Jon Fox + Sush Machida

    May 13th

    Mothers, Eggshells, and the People Who Birth Us
    Keystone Art Space
    338 S. Ave 16, Los Angeles, California 90031
    Opening May 13th, 2-5pm

    May 15th

    Doug Harvey – Return of the Moldy Slides
    Los Angeles Valley College
    5800 Fulton Ave, Valley Glen, Los Angeles 91401
    Opening May 15, 8-10pm

    Karen Hochman Brown – Metro, Poster Signing
    Los Angeles County Arboretum & Botanic Garden
    301 N Baldwin Ave, Arcadia, California 91007
    Opening May 15th, 11-1pm

    May 17th

    Art de Rue | 5Art Gallery Grand Opening
    5Art Gallery
    8250 Melrose Avenue, Los Angeles, California 90046
    Opening May 17, 6-9pm

    May 18th

    Interior Fiction Opening – 5/18
    The VAST Lab
    5151 Whitsett, Los Angeles, California 91607
    Opening May 18, 7-10pm

    Susu Attar: Opening Reception
    The Institute for Art and Olfaction
    932 Chung King Rd, Los Angeles, California 90012
    Opening May 18, 7-9pm

    May 19th

    The Beverly Hills artSHOW
    Beverly Gardens Park
    Beverly Hills, California 90210
    May 19th and 20th 10-6pm

    Big Ass Yarn Bomb at Gabba!
    Gabba Gallery
    3126 Beverly Blvd, Los Angeles, California 90057
    Opening May 19, 10-6pm

    Carbon Art Exhibit opening
    Fellows of Contemporary Art
    970 N Broadway, Ste 208, Los Angeles, California 90012
    Opening May 19th 5-8pm

    Jamison Carter: Hallelujah Anyway
    Klowden Mann
    6023 Washington Blvd, Culver City, California 90232
    Opening May 19th 6-8pm

    Marilyn Minter
    Opening May 19th, 6-8pm

    My Color Garden, art exhibit opening reception
    TAG Gallery
    5458 Wilshire Blvd., Los Angeles, California 90036
    Opening May 19, 6-10pm

    Perimeter III Gallery Opening
    Art Share-LA
    801 E 4th Pl, Los Angeles, California 90013
    Opening May 19, 3-6pm

    2859 E Coast Highway Corona Del Mar Ca 92625
    Opening May 19th 6-8pm

    Undisrememberable Curios
    1206 Maple Ave, Los Angeles, California 90015
    Opening May 19, 7-10pm

    The Voyeur Hotel (Art Show)
    Astroetic Studios
    224 E 11th St, Los Angeles, California 90015
    Opening May 19, 8pm-1am

    We Rise
    1726 N Spring St, Los Angeles, CA 90012
    Open May 19 to May 28th 10-9pm

    May 20th

    George Stoll Opening Reception
    C. Nichols Project
    12613 Venice Blvd, Los Angeles, California 90066
    Opening May 20th, 5-8pm

    Survivor: My Father’s Ghosts Photography Exhibition
    Los Angeles Museum of the Holocaust
    100 The Grove Dr, Los Angeles, California 90036
    Opening May 20, 3-5pm

    Wallspace at Venice Art Walk
    324 Sunset Ave, Venice, CA 90291-2632,
    May 20 and 21st 10-6pm

    May 26th

    Craft and Folk Art Museum
    5814 Wilshire Blvd, Los Angeles, California 90036
    Opening May 26, 6-9pm

    Circular, An exhibit of artworks on circular surfaces
    Gestalt Project Space
    3009 Ocean Park Blvd Santa Monica Ca
    Opening May 26, 6-9pm

    Hox Zodiac Opening Reception
    Building Bridges Art Exchange
    2525 Michigan Ave, Ste F2, Santa Monica, California 90404
    Opening May 26, 7-9pm

    Papercut Public Opening
    ArtExchange – ArtX
    356 E 3rd St, Long Beach, California 90802
    Opening May 26, 7-10pm

    May 27th

    Catalyze at Atche
    Atche as part of The Shed Collective
    3908 Wawona St, Los Angeles, CA 90065-3825
    Opening May 27th, 3-6pm

    June 1st

    Karen Hochman Brown – The Seven Species, Open House
    Jewish Federation of the Greater San Gabriel & Pomona Valleys
    114 W Lime Ave, Monrovia, California 91016
    Opening June 1, 5-7pm

    Superchief Gallery 2018 Annual Mega Group Show
    Superchief Gallery L.A.
    739 Kohler St, Los Angeles, California 90021
    Opening June 1, 6-11pm

    Alex Achaval / Jim Donnelly / Christina Ramos / Septerhed
    Gabba Gallery

    June 2nd

    Alex Achaval / Jim Donnelly / Christina Ramos / Septerhed
    Gabba Gallery
    3126 Beverly Blvd, Los Angeles, California 90057
    Opening June 2nd, 7-11pm

    DENK Gallery
    749 E Temple Street, Los Angeles, California 90012
    Opening June 2nd, 6-8pm

    Carrie Minikel
    Art Produce
    3139 University Ave, San Diego, California 92104
    Opening June 2nd, 6-8pm

    Juliao Sarmento – L.A. Prints
    1419 E Adams Blvd, Los Angeles, California 90011
    Opening June 2nd 4-7pm

    Logan Creative Open Studios
    1105 N Santiago St, Santa Ana, CA 92701-3899
    June 2nd 2-6pm

    Made in L.A. 2018 Opening Celebration
    Hammer Museum
    10899 Wilshire Blvd, Los Angeles, California 90024
    Opening June 2nd, 8-11pm

    Open Studios Alta/Pasa/Dena Art Tour
    Altadena and Pasadena
    June 2nd and 3rd 11-6pm

    The Prisoners. Opening Reception/Poetry Reading
    Beyond Baroque
    681 N. Venice Boulevard, Los Angeles, California 90291
    Opening June 2nd, 3-6pm

    Randi Matushevitz at Shoebox Projects
    Shoebox Projects
    660 South Avenue 21 #3, Los Angeles, California 90031
    June 2nd 3-5pm

    Residuum by Toshi Onuki + Will MIller
    622 South Anderson Street, #108, Los Angeles, California 90023
    Opening June 2nd, 6-9pm

    Topanga Canyon Artist’s Studio Tour
    Topanga Canyon Gallery
    120 N Topanga Canyon Blvd, Ste 109, Topanga, California 90290
    June 2nd and 3rd 10/11am to 5pm

    UCLA Graduate Open Studios
    3443 S Sepulveda Blvd, Los Angeles, CA 90034-6009
    June 2nd 2-5pm

    June 9th

    Keystone Art Space – Open Studios
    Keystone Art Space
    338 S. Ave 16, Los Angeles, California 90031
    Opening June 9th, 6-10pm

    June 16th

    Aili Schmeltz & Jason Manley: Fixed/Flux
    11851 La Grange Ave, Los Angeles, California 90025
    Opening June 16th, 630-930pm

    June 23rd

    Diverted Destruction 11 – Opening Reception
    The Loft at Liz’s
    453 S La Brea Ave, Los Angeles, California 90036
    Opening June 23rd 7-10pm


    Closing May 11th

    A Feminist Perspective 4.0 – Presented by We Choose Art
    The Montalban
    1615 Vine St, Los Angeles, CA 90028-8802,
    To May 11

    Claes Oldenburg: Selected Works
    Gemini G.E.L.
    8365 Melrose Ave, West Hollywood, California 90069
    To May 11

    Open Mind Art Space
    11631 Santa Monica Blvd, Los Angeles, California 90025
    To May 11

    Shoreline Symmetry Work by Karen Hochman Brown
    The MAIN
    24266 Main St., Santa Clarita, California 91321
    To May 11

    Closing May 12th

    Alison Saar and Evie Shockley
    L.A. Louver
    45 N Venice Blvd, Venice, California 90291
    To May 12

    Borderless: Latin America Opening
    Gabba Gallery
    3126 Beverly Blvd, Los Angeles, California 90057
    To May 12

    Construction – A Group Show About Memory + Fabrication
    Arena 1 Gallery
    3026 Airport Ave., Santa Monica, California 90405
    To May 12

    Christopher Page at Baert Gallery
    Baert Gallery
    2441 Hunter Street, Los Angeles, California 90021
    To May 12

    In Pursuit of Beauty, Los Angeles
    South Bay Contemporary SOLA Gallery
    3718 WEST SLAUSON AVENUE, Los Angeles, California 90043
    To May 12

    Jesse Stecklow – Staging Grounds
    612 North Almont Drive Los Angeles, California 90069
    To May 12

    Kim Reasor and David Lipson
    Art Produce
    San Diego, California 92104
    To May 12

    Force of Nature
    Steve Turner Contemporary
    6830 Santa Monica Blvd, Los Angeles, California 90038
    To May 12

    Megan Cotts: Proprius Opening Reception
    Klowden Mann
    6023 Washington Blvd, Culver City, California 90232
    To May 12

    Construction – A Group Show About Memory + Fabrication
    Arena 1 Gallery (Photo Credit Christel Robleto Photography)

    Closing May 13th

    Anna Stump: Nudes / A Solo Show
    Sparks Gallery
    530 Sixth Ave, San Diego, California 92101
    To May 13

    Bodies of A Different Mass
    Tiger Strikes Asteroid Los Angeles
    1206 Maple Avenue Ste 523, Los Angeles, California 90015
    To May 13

    ODEON – Philip Newcombe
    Monte Vista
    1206 Maple Avenue, 5th floor, #523, Los Angeles, California 90015
    To May 13

    Opening event for “Muse: Mickalene Thomas Photographs” and more!
    Pomona College Museum Of Art
    330 N College Ave (At Corner of College and Bonita), Claremont
    To May 13

    Closing May 17th

    Durden and Ray presents Emulations at MuzeuMM
    4817 W Adams Blvd, Los Angeles, California 90016
    To May 17th

    Reclaimed Landscapes: The Art of Jarod Charzewski
    Begovich Gallery
    Fullerton, California 92831
    To May 17

    Durden and Ray presents Emulations at MuzeuMM

    Closing May 18th

    Co/Lab III
    Dreams & Fevers
    TAM Torrance Art Museum
    Torrance, California 90503
    To May 18

    The Relative Sharpness Of Boundaries
    Of Nature & Stardust
    Building Bridges Art Exchange
    2525 Michigan Ave, Ste F2, Santa Monica, California 90404
    To May 18

    Closing May 19th

    2018 International Co_Works Opening
    Tieken Gallery, Los Angeles
    961 Chung King Road, Los Angeles, California 90012
    To May 19

    Laura Heit and Janie Geiser – Opening Reception
    Track 16
    1206 Maple Ave, #1005, Los Angeles, California 90015
    To May 19

    Junghwa Hong “Veiled”
    CB1 Gallery
    1923 S. Santa Fe Ave., Los Angeles, California 90021
    To May 19

    Kelly Berg & Ned Evans
    Craig Krull Gallery
    2525 Michigan Avenue, B3, Santa Monica, California 90404
    To May 19

    Marina del Pedro
    Angels Gate Cultural Center
    San Pedro, California 90731
    To May 19

    Closing May 20th

    Ali Prosch, Come Undone | Opening Reception
    Bed & Breakfast
    1912 Cimarron St, Los Angeles, California 90018
    To May 20

    Louise Bourgeois. The Red Sky
    Mark Bradford New Works
    Greta Bratescu The Leaps of Aesop
    Hauser & Wirth Los Angeles
    901 East 3rd Street, Los Angeles, California 90013
    To May 20

    Closing May 22nd

    Stripes, Opening Reception
    Gestalt Project Space
    3009 b Ocean Park Blvd, Santa Monica, California 90405
    To May 22nd

    Closing May 26th

    It Passes like a Thought
    Beall Center for Art + Technology at UC Irvine
    712 Arts Plaza, UC Irvine Campus, Irvine, California 92697
    To May 26

    Amir Zaki: Getting Lost
    Raúl Cordero with Alma Ruiz
    Edward Cella Art & Architecture
    2754 S La Cienega Blvd, Los Angeles, California 90034
    To May 26

    Graduate Exhibition
    CSUN Art Galleries
    18111 Nordhoff St, Northridge, California 91330
    To May 26th

    Extent – opening reception
    410 S Spring St, Los Angeles, CA 90013-2002,
    To May 26

    Fay Ray: I Am The House
    Shulamit Nazarian
    616 N. La Brea Ave, Los Angeles, CA 90036
    To May 26

    J Fredric May – Solo Exhibition at CA Center for Digital Arts
    California Center for Digital Arts
    310 W 5th St, Santa Ana, California 92701
    To May 26th

    KÀN opening at Durden and Ray
    Durden and Ray
    1923 S. Santa Fe Ave, Los Angeles, California 90021
    To May 26th

    Opening: Maren Hassinger: The Spirit of Things
    Art + Practice
    3401 W. 43rd Place, Los Angeles, California 90008
    To May 26

    Foundation | Susan Feldman Tucker + Melinda R. Smith
    Art Share-LA

    Closing May 27th

    Foundation | Susan Feldman Tucker + Melinda R. Smith
    Art Share-LA
    801 E 4th Pl, Los Angeles, California 90013
    To May 27th

    Requiem: Aching for Acker Opening Reception
    Mike Kelley Gallery
    681 Venice Blvd, Venice, California 90291
    To May 27th

    Closing May 31st

    Joshua West Smith – The Autumn, and the Violet, and Orion
    3325 Division St, Los Angeles, California 90065
    To May 31st

    Closing June 1st

    CONSTRUCTED: Recent Works by LA Artists
    Saatchi Art
    1655 26th St, Santa Monica, California 90404
    To June 1

    Multiple Feeds | Solo Shows: Rob Grad, Tom Lamb, Sun
    Los Angeles Art Association/Gallery 825
    825 N La Cienega Blvd, West Hollywood, California 90069
    To June 1

    Closing June 2nd

    A.M. Rousseau, Lines of Inquiry
    Jason Vass
    1452 E 6th St, Los Angeles, California 90021
    To June 2nd

    Mary Little | Opening Reception and Artist Talk
    Craft in America
    8415 W 3rd St, Los Angeles, California 90048
    To June 2

    Mokha Laget and Knopp Ferro
    Louis Stern Fine Arts
    9002 Melrose Ave, West Hollywood, California 90069
    To June 2

    Roland Reiss Solo Exhibition
    Diane Rosenstein Gallery
    831 N Highland Ave, Los Angeles, California 90038
    To June 2

    SoCal MFA 2018
    Millard Sheets Art Center
    1101 W. McKinley Ave, Pomona, California 91768
    To June 2

    Closing June 3rd

    The Feminine Sublime at the Pasadena Museum of CA Art
    Pasadena Museum of CA Art
    490 E Union St, Pasadena, CA 91101-1790
    To June 3rd

    ABOUT-FACE: Opening Reception
    San Diego Art Institute
    1439 El Prado, San Diego, California 92101
    To June 3

    Martin Cox’s Museum of Ennui at The Closet in Shoebox Projects
    Shoebox Projects
    660 South Avenue 21 #3, Los Angeles, California 90031
    To June 3

    Closing June 10th

    Armory Center for the Arts
    145 N Raymond Ave, Pasadena, California 91103
    To June 10

    Scott Foschauer “Echo Enigma” • Opening Reception
    2599 Fair Oaks Ave, Altadena, California 91001
    To June 10

    Scott Foschauer “Echo Enigma” • Opening Reception

    Closing June 15th

    Nature: Human Nature, Art Show Opening in Hollywood
    The Loft at Liz’s
    453 S La Brea Ave, Los Angeles, California 90036
    To June 15th

    Made in California – Opening Reception
    Brea Gallery
    1 Civic Center Cir, Brea, California 92821
    To June 15

    First Street Gallery Art Center
    250 W 1st St, Ste 120, Claremont, California 91711
    To June 15

    Closing June 16th

    Alexandra Hedison | The In Between
    Von Lintel Gallery
    2685 S La Cienega Blvd, Los Angeles, California 90034
    To June 16

    Color Vision public reception
    Huntington Beach Art Center
    538 Main St, Huntington Beach, California 92648
    To June 16th

    Closing June 17th

    Cog•nate Collective: Regionalia – Reception + Public Programs
    CSUF Grand Central Art Center
    125 N Broadway, Santa Ana, California 92701
    To June 17

    Closing June 22nd

    Vision Valley: The Glendale Biennial Opening Reception
    Brand Library & Art Center
    1601 W Mountain St, Glendale, California 91201
    To June 22nd

    Closing June 23rd

    Valiant Spirit, New Works by Gina Herrera
    Michael Stearns Studio at the Loft
    401 S Mesa St, San Pedro, CA 90731-2619
    To June 23

    Closing June 30th

    Group Show Reception
    McGinty’s Gallery at the End of the World
    869 E Mariposa St, Altadena, California 91001
    To June 30th

    Robert McChesney & Emerson Woelffer: 1959-1964
    The Landing
    5118 w Jefferson Blvd Los Angeles, CA 90016
    To June 30

    Closing July 1st

    Meleko Mokgosi: Bread, Butter, and Power Opening
    Fowler Museum at UCLA
    308 Charles E Young Dr W, Los Angeles, California 90095
    To July 1

    Artist & Researcher 2
    Hoyt Gallery

    Closing July 6th

    Artist & Researcher 2
    Hoyt Gallery
    1975 Zonal Ave, Los Angeles, CA 90033
    To July 6

    Closing July 8th

    Unapologetic Flowers and Small Stories
    Claremont Museum of Art
    200 W. First St., Claremont, California 91711
    To July 8

    Closing August 5th

    Survival is Insufficient- Opening Reception
    Oceanside Museum of Art
    Oceanside, California 92054
    To August 5

    Closing August 18th

    Art Opening- Devon Tsuno
    Theodore Payne Foundation Arts Program
    10459 Tuxford Street, Sun Valley, California 91352
    To August 18th





    Hidden Narratives: Recent Acquisitions of Postwar Art
    To January 6, 2019

    A Universal History of Infamy: Those of This America
    To October 6, 2018


    Made in L.A.
    June 3rd to Sept 2nd 2018

    Hammer Projects: Lawrence Abu Hamdan
    JAN 20–MAY 20, 2018

    Unspeakable: Atlas, Kruger, Walker: Hammer Contemporary Collection
    JAN 20–MAY 13, 2018


    Jasper Johns: ‘Something Resembling Truth’
    Feb 2018 to May 13, 2018


    Adrián Villar Rojas: The Theater of Disappearance
    To May 13, 2018

    Real Worlds: Brassaï, Arbus, Goldin
    To September 3, 2018

    Lauren Halsey: we still here, there
    To September 3, 2018


    The Forest for the Trees
    May 12 – July 15, 2018


    Testament of the Spirit: Paintings by Eduardo Carrillo
    to June 3, 2018

    The Feminine Sublime
    to June 3, 2018

    Ana Serrano: Homegrown
    to June 3, 2018

    Artist Talks:

    Artist Talk: Kelly Berg & Ned Evans
    Craig Krull Gallery
    2525 Michigan Avenue, B3, Santa Monica, California 90404
    May 12, 11-12pm

    Who Are You? Artillery Panel Discussion
    Bermudez Projects/NELA/Cypress Park
    1225 Cypress Ave Los Angeles Ca 90065
    May 12th, 3-7pm

    J Fredric May – Artist Talk at CA Center for Digital Arts
    California Center for Digital Arts
    310 W 5th St, Santa Ana, California 92701
    May 12th, 3-5pm

    In Conversation: Taisha Paggett and Ashley Hunt
    Art + Practice
    4334 Degnan Blvd, Los Angeles, CA 90008-4909
    May 17th, 7-830pm

    The MFA Experience, Moderated by David Pagel
    Millard Sheets Art Center
    1101 W. McKinley Ave, Pomona, California 91768
    May 20th 2-4pm

    Scott Froschauer “Echo Enigma” • Artist’s Talk
    2599 Fair Oaks Ave, Altadena, California 91001
    May 20th, 3-5pm

    Virginia Katz hosts Kristina Newhouse
    Eastside International / ESXLA
    602 Moulton Ave, Los Angeles, California 90031
    May 24th 7-9pm

    A.M.Rousseau, Artist Talk/Book Signing at Jason Vass
    Jason Vass
    1452 E 6th St, Los Angeles, California 90021
    June 2nd 2-4pm

    Artist Talk with April Bey
    Band of Vices
    5376 W. Adams Blvd, Los Angeles, California 90016
    June 2nd 4-6pm

    Screening and Panel: Artist and Mother
    California African American Museum
    600 State Drive, Exposition Park, Los Angeles, California 90007
    June 12th, 7-9pm

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