December 05, 2013
margie livingston to take part in public program: "Equipollent: The Artists of Inside Art 2013", Town Hall, Seattle, December 5, 2013
Presented in conjunction with "Equipollent" at Standing Visit Projects, 301 Storefront Gallery, Seattle, WA
e·qui·pol·lent - ēkwəˈpälənt
1.equal or equivalent in power, effect, or significance.
The intent of this exhibition is to break down barriers between artists of different backgrounds, cultures and approaches to visual art and also between the artists as a group and audiences that may or may not frequent usual visual art venues or have academic artistic knowledge or education. more
Barbara Earl Thomas
November 29, 2013
"Framed: Tijuana Painter Hugo Crosthwaite Imagines a Sci-fi Future for Mexican Youth", November 29, 2013
In the small gallery space on the ground floor of the Mexican Consulate, the works of Tijuana’s future art stars line the walls. The MacArthur Park-adjacent building is home to Tijuana Makes Me Happy, a showcase of works by artists from the border city.
Tijuana has experienced a radical transformation in the last few years. A reduction in violence and a growing middle class have fostered the explosion of the local art scene, and the work it has produced is some of the most exciting in North America. more
November 25, 2013
hugo crosthwaite featured in "Tijuana Art Comes to Los Angeles", KCET, November 25, 2013
The Mexican cultural critic Rafael Saavedra once wrote that "Tijuana moves faster than its artists and critics." The city certainly has inhabited many roles. Raffish border town. Frat guy party zone. Ground zero for spectacular acts of narco-violence. Lately, "la city" -- as Tijuana is affectionately called -- has taken on a new guise: percolating arts lab. In the last couple of years, the homicide rate has plummeted, but tourism remains relatively low, making plenty of fallow real estate on and off Avenida Revolución affordable to the creative classes. more
November 23, 2013
margie livingston featured in: "Lynda Benglis And 6 Contemporary Artists Sculpt With Paint"
Lynda Benglis emerged decades ago as an artist breaking barriers and shifting paradigms. Pouring neon paints in exhibition spaces served not only as an action on the figure of the artist, but while these pieces created installations, the poured paint was also viewed and handled by Benglis as an object, and preserved as such. more
Paint has historically been used to create imagery on a foundation- canvas, wood, paper, etc. In this common format the paint becomes an object of art only after joined with a substrate. Benglis was a forerunner in breaking away from this. Today there are a number of artists pushing forward on this notion, and breaking away further in the development of their bodies of work. Artists Linda Besemer, Margie Livingston, Ryan Peter Miller, Laura Moriarty, David Allan Peters and Leah Rosenberg all create works that demonstrate the vast spectrum with which paint as a medium has been torn from the substrate and presented conceptually and physically as a substance that can be molded.
Margie Livingston recently presented a new body of work in her solo exhibit “Objectified”at Luis De Jesus Gallery in Culver City. Having spent years casting and sculpting paint, Livingston’s portfolio demonstrates an evolved investigation into forms and space, substance and the function of the object. In her newest work she casts and sculpts acrylic paint alone into slabs that appear as wood planks, the patterning of hues reminiscent of wood grain. The wood-like planks, sheets and stumps are then used in the formation of minimalist sculpture. [ READ ON ]
November 16, 2013
MARTIN DURAZO featured in "Pretty Vacant", Westwood, CA, November 16, 2013 - ongoing
A site-specific project in a vacant pre-demo Westwood home. Participating artists: Kristin Calabrese , Joshua Aster, Walpa D'mark, Martin Durazo, Mark Dutcher, Chuck Feesago, Yvette Gellis, Micol Hebron, Kelly Mclane, Megan Madzoeff, Constance Mallinson, Jared Pankin, Christopher Pate, Eve Wood, Alexis Zot
November 16, 2013 - present
By appointment: email@example.com
November 14, 2013
2014 whitney biennial announced: zackary drucker and rhys ernst to participate
The 2014 Whitney Biennial will take a bold new form as three curators from outside the Museum—Stuart Comer (Chief Curator of Media and Performance Art at MoMA), Anthony Elms (Associate Curator at the Institute of Contemporary Art, Philadelphia), and Michelle Grabner (artist and Professor in the Painting and Drawing Department at the School of the Art Institute, Chicago)—each oversee one floor, representing a range of geographic vantages and curatorial methodologies. more
Donna De Salvo, Chief Curator and Deputy Director for Programs at the Whitney, noted: “The 2014 Biennial brings together the findings of three curators with very distinct points of view. There is little overlap in the artists they have selected and yet there is common ground. This can be seen in their choice of artists working in interdisciplinary ways, artists working collectively, and artists from a variety of generations. Together, the 103 participants offer one of the broadest and most diverse takes on art in the United States that the Whitney has offered in many years.”
[ VISIT SITE ]
October 20, 2013
martin durazo featured in "Heavy Metal Art: Banks Violette And Seven Other Artists On The Spectrum Of Dark And Gritty"
This weekend on Beautiful Decay we want to welcome you over to the dark side, where a vast amount of artists are churning out contemporary art fueled by the fire of Metal. A multitude of artists these days are making art inspired by the crushing sounds and dark spirit of Heavy Metal, Death Metal and Doom music, all of which weave in and out of several other genres.
I’ve been a huge fan for a while now of the work made by artists Skinner, Ben Venom and Martin Durazo, which are strongly informed by Heavy Metal. more
October 19, 2013
MIYOSHI BAROSH to participate in "Women, War, and Industry" at San Diego Museum of Art, San Diego, CA;
October 19 through February 18, 2014
This exhibition examines the myriad ways in which women have been represented in relation to war and industry in modern and contemporary art created in the United States. During the twentieth century, both the advent of war and increased industrialization, have led to major changes in the lives of women: their roles in their families, the way in which they dress, and the manner in which they are perceived in the public sphere. more
October 17, 2013
margie livingston featured in "The Object of Beauty: This Artweek.LA"
Margie Livingston: Objectified | Livingston is first and foremost a painter. Her desire to liberate painting from illusion and free herself from the limitations of traditional painting pushed her to articulate and embrace an entirely new approach to making work. Employing strategies and methods associated with the construction and carpentry trade, she builds three-dimensional paint objects that are made entirely out of acrylic paint, allowing her to directly translate the phenomena of space, light, color and gravity upon these hybrid structures. more
October 16, 2013
Zackary Drucker at Forum Lounge | Contemporary Arts Forum Walks on the Wild Side
WHO’S THAT LADY? Heather Jeno Silva’s Forum Lounge, which has been running at the Contemporary Arts Forum on 1st Thursdays for several years now, continues to be the city’s edgiest and most experimental venue for performance. Just two days before CAF’s annual fundraiser, Forum Lounge hosted Zackary Drucker, an up-and-coming artist from Los Angeles who has, along with her partner, Rhys Ernst, all the signs of becoming a major star on the international contemporary art scene. more
With her medium-length, super-straight dirty-blonde bob, subtle makeup, and slim frame, Drucker makes quite an impression, especially when you consider that she was born a biological male. Likewise, her partner, Ernst — who was also present — cuts an enigmatic figure with his short, black hair and boyish frame, again especially given that he was born a biological woman. Together, the two constitute what they have termed a “reverse heterosexual” couple, a mind-bending state of affairs that provides the point of departure for much of their stylish, witty, and deeply subversive art.
Drucker kicked off the evening with “Bring Your Own Body,” a tribute/biographical monologue to the late transgender figure Lynn Elizabeth Harris. Harris, who was born a hermaphrodite in Orange County in 1950, was raised as a female through high school and beyond by parents who never reconsidered his gender identity, even when, at age 5, Harris developed male genitals. Harris’s mother and father were doting parents, and, through the auspices of a Los Angeles archive of gay and transgender documents and memorabilia, Drucker has come into possession of an extraordinary array of baby photos, family pictures, school reports, driver’s licenses, and other images and documents. By projecting an array of these images on a screen behind her while she recites the details of Harris’s odyssey, Drucker weaves a deeply disorienting tale. What is one to make of a life story that includes both beauty-contest wins as a woman (Costa Mesa Junior Miss, 1968), and an eventual and rapid self-transformation in 1983 at age 33 into the mustachioed man called Lynn Edward Harris? For Drucker, Harris remains both a cautionary tale — his life was sensationalized in painful ways by the tabloids and shock television — and a boundary-busting hero. Her final words sum up these mixed feelings in a simple question and answer: “Cause of death? Not enough love.”
SHE GONE ROGUE: After the mostly tragic narrative of Lynn Harris, the recent film that followed was more in the vein of comic relief. She Gone Rogue was commissioned for the 2012 Los Angeles Biennial and screened at the Hammer Museum in July. It’s a witty, anarchic romp through the twisted sensibilities of both its director and its star. Drucker plays Darling, a hapless waif wandering through a disorienting fantasy world that owes much to such queer film icons as John Waters, Andy Warhol, and Kenneth Anger. After receiving some psychic advice from the “Whoracle of Delphi,” Darling finds true love with Ernst, Drucker’s actual lover and the film’s director. Along the way, there are chattering novelty false teeth, an aging aunt played by Warhol superstar Holly Woodlawn, and plenty of weird bling, including a rhinestone bedazzled walker. Crisp cinematography, clever banter, and dynamic editing all contribute to the film’s zippy, unconventional appeal. While none of this is for everyone, none of it is for no one either, and the more people who do try to wrap their heads around Drucker’s unorthodox approach to gender, the better, at least as far as tolerance and understanding are concerned.