June 04, 2013
Zackary Drucker: "Bring Your Own Body - The Lynn Harris Story", 2013 RAPID PULSE International Performance Festival, June 6-7, Chicago
Zackary Drucker will present "Bring Your Own Body: the Lynn Harris Story" at Defibrillator Performance Gallery on June 6 and 7th, as part of the 2013 RAPID PULSE International Performance Festival, Chicago. more
Zackary Drucker (US) earned a MFA from the California Institute of the Arts in 2007 and a BFA from the School of Visual Arts in 2005. She has performed and exhibited her work internationally in numerous museums, galleries, and film festivals including the 54th Venice Biennale–Swiss Off-Site Pavilion; Curtat Tunnel, Lausanne, Switzerland; L.U.C.C.A. Museum of Contemporary Art, Lucca, IT; Les Rencontres Internationales Paris/Berlin/Madrid; Yerba Buena Center for the Arts, San Francisco, CA; MOMA PS1, Deitch Projects, and Leo Koenig Inc. Projekte.
Courtesy of the artist, ONE National Gay and Lesbian Archives, USC Libraries, and Luis De Jesus Los Angeles.
For more information please visit rapidpulse.org. [ VISIT SITE ]
June 04, 2013
chris engman included in next-new-ca, at the San Jose ICA, Jun. 8 - Sep. 14, 2013, San Jose, CA
Just picked! California’s freshest crop of emerging talent!
The ICA is honored to present NextNewCA, an exhibition that marks the debut of some of the best new talent on California's contemporary art scene. more
The 15 featured artists in NextNewCA were selected from among more than 100 candidates and include: Barbara Boissevain, Kate Bonner, Daniel A. Christopher (in collaboration with Aidan Seine), Missy Engelhardt, Chris Engman, Liam Everett, Sarah Frazier, Jennifer Groft, Rhonda Holberton, Joe Lloyd, Keegan Luttrell, Atilio Pernisco, Christopher Reynold, Dimitra Skandali, and Sean Talley.
NextNewCA presents a unique opportunity to view an exhibition of MFA work presented in a broader statewide context. In the past, NextNew exhibitions at the ICA featured MFA students from the Bay Area. However, as the ICA expands its exhibition programme to showcase artists from throughout the state, NextNewCA represents a significant step in that direction. The works in the show reflect broad perspectives present in the contemporary artistic landscape that explore innovative approaches to new media, installation, photography, painting, drawing and sculpture.
The works also present a variety of conceptual and aesthetic themes. Stanford’s Rhonda Holberton’s sculptures and SJSU’s Barbara Boissevain’s photographs illuminate environmental concerns. SFSU’s Sarah Frazier’s paintings and Mills’ Keegan Luttrell’s pieces represent emotions surrounding elements of danger. CalArts’ Christopher Reynolds and UCSC’s Daniel A. Christopher’s works explore the viewer’s physiological responses to and physical interfaces with the pieces. Challenging traditional two-dimensional art into three-dimensional forms are CCA’s Liam Everett’s paintings, SFAI’s Missy Engelhardt’s works on paper, and CCA’s Kate Bonner’s sculptural photocopies. USC’s Chris Engman’s photographs record actions and elaborate processes, while SJSU’s Jennifer Groft confronts domesticity through her materials and techniques. Focusing on both similar and contrasting compositions and forms are CGU’s Joe Lloyd’s paintings and Cal’s Sean Talley’s sculptures and drawings. And, Inspired by sentiments of nostalgia and absence are SFAI's Greek-born Dimitra Skandali with her installation made from seaweed, and CGU's Argentine-born Ailio Pernisco with his representational yet abstracted paintings. [ VISIT SITE ]
June 04, 2013
ken gonzales-day to be senior fellow at Terra Foundation for American Art, Giverny, France, June-August 2013.
Each summer, the Terra Foundation for American Art offers ten residential fellowships for emerging artists and predoctoral scholars in a setting rich in art historical significance. Since 2001, the Terra Summer Residency has provided fellows with the opportunity to pursue individual work and research within a framework of interdisciplinary exchange and cross-cultural dialogue. more
June 04, 2013
federico solmi in "OCAT Shanghai’s Animation Sampler “The Garden of Forking Paths”, may 3 - july 28, 2013
SHANGHAI — With works by 48 artists from China and abroad, many of whom have multiple pieces on show, “The Garden of Forking Paths: Exploring Independent Animation” encompasses hours and hours of art, including pieces made using stop animation, drawing, painting, flash, and 3-D modeling. more
The sprawling show, which opened in Shanghai on May 3, is only OCAT Shanghai’s second. Following on from a Yang Fudong solo show, it draws heavily on the Shenzhen Biennale of Independent Animation, held at OCT Loft from December 2012 to March 2013. A number of significant additions have been made, however, including works by Feng Mengbo, Lu Yang, and William Kentridge. READ ON: http://encn.blouinartinfo.com/news/story/903912/shows-that-matter-ocat-shanghais-animation-sampler-the-garden
May 17, 2013
artMRKT and ArtPadSF: The Must-See Booths
Attempt to hit all seventy booths at this year's artMRKT (May 16 - 19) in Fort Mason Center, and you're going to stagger out bleary eyed and capable of remembering maybe the first three things you saw. ArtPadSF (May 16 - 19), the smaller and hipper of the two art fairs, will itself be hosting thirty-five galleries in the pool-side rooms of Larkin Street's charmingly retro Phoenix Hotel – still a heaping serving of contemporary art. [ READ ON ]
May 17, 2013
CARTWHEEL’s Guide to ArtPadSF May 16-19, 2013
For three days and four nights beginning the evening of May 16, a selection of contemporary California galleries will all be poolside in San Francisco, and they’ll be doing more than just kicking back and relaxing! Quite the opposite: At ArtPadSF, the art fair at ultra-hip Phoenix Hotel, the whole complex is abuzz as collectors, art enthusiasts and gallerists flow from art filled-rooms set up as mini-galleries, while goings-on center around the hotel’s vintage kidney-shaped pool courtyard. [ READ ON ]
March 19, 2013
MARCOS RAMÍREZ ERRE: "Playing (Series) Serious"
April 6 through May 11, 2013; Opening Reception: Saturday, April 6, 6-9 p.m.
Luis De Jesus Los Angeles is very pleased to present Marcos Ramírez ERRE in his first solo exhibition at the gallery, titled Playing (Series) Serious, on view from April 6 through May 11, 2013. more
Invested in an ongoing interrogation of language and the consequences of its translation, across terrains and cultures, Marcos Ramírez ERRE’s works intimately negotiate the subject and the object, history and memory, aesthetics and politics, the local and the global, and the personal and the collective. Posing questions about the relationship between art and audience, ERRE’s works transform spectators into implicated subjects charged with the responsibility of taking an active role in producing the tensions expressed by the works.
ERRE’s new series of works, entitled Playing (Series) Serious, uses humor, word play, and the format of crossword, game search, Sudoku, labyrinth, and maze puzzles to continue his strategic appropriation of language-based signage. His work addresses the internalization of politics into the habitual vernacular of the everyday. Testing the limits of cognition as well as the conventions of word and sign puzzles, Playing (Series) Serious also explores translation, misunderstanding and the impossibility of choosing to recognize what is hiding in plain sight.
Rational choice dictates that the decisions we make are directed towards finding the most efficient solution to a problem that will also cause the greatest good. ERRE’s Playing (Series) Serious brings us face to face with the real contradictions inherent in making any kind of choice let alone a positive one, whether personal or political, as he challenges the viewer to resolve puzzle and word-games that confront loaded political statements juxtaposed with their grammatical dissolution into image. Just as in politics, Playing (Series) Serious teasingly prompts us to restore order by electing to play the game and engage our logical and emotive apparatus in exercises of conscious seeing.
Acknowledged as one of the most significant figures in the history of borderland cultural practices for over two decades, Marcos Ramírez ERRE—known by his pen name “ERRE” (pronounced ēh-Rrēh, the sound of the Spanish double R letter)—is a formally-trained attorney, skilled carpenter, and self-taught artist whose practice includes performance, installation, sculpture, billboards, photography, video, and painting. ERRE has participated in residencies, lectures and numerous collective exhibitions in Mexico, the United States, Russia, China, France, Spain, Cuba, Puerto Rico, Chile, Colombia, Argentina, and Brazil, including: InSite95 and InSite97; VI and VII Havana Biennials; 2000 Whitney Biennial; 2004 San Juan Poly/Graphic Triennial; 2007 Sao Paolo Biennial; 2007 Valencia Biennial; 2nd Moscow Biennial 2007; 2008 California Biennial; and 2012 ZERO1 Biennial.
Other solo and group exhibitions include Marcos Ramirez ERRE: La reconstrucción de los hechos (A Reconstruction of Events), 20-Year Retrospective, at the Museo de Arte Contemporáneo Carrillo Gil, Mexico City; Ballad for Mellisa and Bob (or, the different ways to live on the border), an intervention at Casa Azul, Frida Kahlo Museum, Mexico City; How Many Revolutions?, LAX ART, Los Angeles; The Body of Crime, Artpace, San Antonio, TX; The Four Pilots of the Apocalypse, The Suburban, Chicago, IL; Postcards from the Edge, The Atheaneum of Music and Arts Library, La Jolla, CA; To whom it may concern/War notes, Stanlee and Gerald Rubin Center for the Visual Arts, University of Texas at El Paso, El Paso, TX; Strange New World, Museum of Contemporary Art, San Diego, CA; and Baja to Vancouver: West Coast Contemporary Art, Seattle Art Museum, Seattle, WA, among others.
For further information, please contact the Gallery at +1-310-838-6000, or email: firstname.lastname@example.org.
February 08, 2013
MARA DE LUCA: CRUISE COLLECTION 2013 | Launch: Saturday, February 23, 2013, 6 p.m.
Luis De Jesus Los Angeles is pleased to announce CRUISE COLLECTION 2013: New Paintings by Mara De Luca, premiering Saturday, February 23rd, at 6:00 p.m. The show will remain on view through March 30, 2013.
Graphic chic. Sketched from essential lines. Sculpted by optical combinations. Ignited by striking flashes of light. For Cruise Collection 2013, a modern bon ton by Mara De Luca. more
"For Cruise Collection 2013, I have created the poetic drama and darkly romantic mood of Rainer Maria Rilke's existential poetry while re-examining visual codes through a contemporary lens,' explains De Luca. 'I set out to contaminate the styles and conventions of Minimalist Abstraction and Romantic Painting with a new vision: conceptual rigor imbued with the facile seduction and sublime effect of high fashion advertisement."
Tactile sensations from unexpected material combinations: Overlapping pieces with sheer cuts and contrasting colors, synthesized in trompe l'oeil vistas. Dramatic skies and heightened lighting effects set in dusk landscapes and nighttime atmosphere shift between extremes of representation and abstraction; Landscaped fields and subtle, monochromatic light plays translate the effects and varying tone of Rilke's poems, gesturing towards the natural landscape of Los Angeles.
A mix-and-match inclination of diverse aesthetics installed and experienced as a single visual event. A ready-made approach towards the monochrome. Poured clouds. Macro brushmarks. Collaged fabric overlays, transparent and opaque. Ruptured illusion. A romantic gesture.
Cruise Collection 2013 is Mara De Luca's second solo exhibition with the Gallery.
The above statement was adapted from the original press release for the Gucci Women's Cruise Collection 2012 and is offered as a tongue-in-cheek nod to De Luca's source inspiration: the seductive manipulation of words, images and graphics in today's media, the ascendancy of art as "fashion", and the continued influence of Rilke's poetry upon a retail contemporary sublime.
Cruise Collection 2013 is Mara De Luca's second solo exhibition with the Gallery. It represents her current project, "Elegies", which takes inspiration from Rilke's "Duino Elegies" (1912-22), recognized by critics and scholars as his most important work. Rilke’s ten elegies are an impassioned monologue discussing the limitations and insufficiency of the human condition. De Luca’s response to Rilke’s cry of despair ("Who, if I cried out, would hear me among the hierarchies of angels?") invokes its own philosophical struggle befitting our highly commodified existence: “Beauty or suffering?” ...“Haute couture or fractured consciousness?”
Mara De Luca's work investigates the visual language of abstract painting and is a reflection on contemporary mass media expressed though diverse pictorial, conceptual and technical conventions. In “Elegies”, she employs a process in which the paintings are generated through paint pours onto unprimed canvas; the poured image is then overlaid with a semi-transparent fabric—a ready-made fade. The series comprises atmospheric paintings that mimic digitally rendered imagery found in Gucci and Dior ads—what might be described as "hyper-analog" representations of light and space. This technique closely resembles the digital "pour" and "gradient" editing features common to Photoshop, ubiquitous effects in advertising and design and the airbrushed pages of glossy fashion magazines and billboards.
In 2010, De Luca exhibited Stations, a series of fourteen paintings inspired by Barnett Newman's Stations
of the Cross, at the Museum of Contemporary Art San Diego. Here, De Luca layers a disparate array of appropriated graphic imagery drawn from television, commercial advertising, and Baroque painting on top of meticulously painted canvases of abstract color. Evocative of Newman's own painterly aspirations for "the whole canvas [to] become color and have a sense of light," De Luca's Stations are a meditation on the ideologies of mass media.
Mara De Luca was born 1973 in Washington, D.C., and lives and works in Los Angeles. She received her MFA from California Institute of the Arts, Valencia, CA, and BA from Columbia University, New York. Her work as been exhibited in museums and galleries in the U.S. and Europe. Upcoming and current solo and group exhibitions include Elegies, an exhibition of new hybrid prints, curated by Carl Berg and created during her 2012-13 residency at Irvine Fine Arts Center, Irvine, CA; and Searchin': Los Angeles and the Quest for the Sublime, curated by Mary Coyne, at Angels Gate Cultural Center, San Pedro, CA.
For further information, please contact the Gallery at 310-838-6000, or email: email@example.com.
January 31, 2013
review: martin durazo @ luis de jesus
When's the last time you walked into a prominent contemporary art gallery and found yourself simultaneously surrounded by soaring neon-pigmented abstract paintings, the faint sound of The Cure and the scent of Nag Champa incense? Probably never.
The current exhibition "Points of Entry," a solo exhibition by LA artist Martin Durazo at Luis De Jesus in Culver City, Los Angeles, stimulates the senses in a high-art-meets-hessian-smoke-den vein that demonstrates where the artist is coming from and how far he can take it. more
The aptly titled exhibition "Points of Entry" includes a series of several large-scale (ranging from 9 ft x 6 ft. to 9 ft x 12 ft.) acrylic paintings and a black box constructed installation room where viewers can literally find a point of entry intot he world of the paintings and get immersed in their pigment and energy.
This constructed black light filled installation, of which the show is titled after, spills its incense smoke and fringe classic playlist out into the white cube of the gallery. Once inside, viewers find themselves in a pulsing, smoke filled, neon colored cave fully festooned with black lights, LED lighting effects and garage-party paraphernalia including bean bag chairs, lava lamps, fetish gear, water bongs and a smaller version of one of Durazo's paintings found on the whitewalls of the gallery.
After emerging from this installation, which feels a bit like falling down the best possible dreamscape rabbit hole, the two-dimensional works in this exhibition take on a different life. With titles ranging from "Slayer" to "Post Punk" the abstract pieces come alive with Richter-esque sweeping neon, metallic and black swaths of color, reminiscent of rock concert posters. Technically taking nods from the continuum of modern abstract painting, Durazo takes these works further, infusing them with his fringe-culture influence, and a neon grittiness that feels fully LA.
[ READ ON ]
January 30, 2013
MARTIN DURAZO: POINTS OF ENTRY | LUIS DE JESUS LOS ANGELES (CULVER CITY)
February 2013 - Acting like a siren’s call, a mix of punk, new age, heavy metal and disco house music lures visitors past Martin Durazo’s paintings, and towards his intimate, back-room installation, “Point of Entry.” Stepping through its portal, hung with two sheets of black plastic backing bead strung curtains, viewers find themselves in a darkened club–like space where it would not seem out of line to either meditate or give in to self-destructive urges. There’s a comfy sofa. more
Durazo’s improbable dichotomy of the meditative and pernicious carries over to the disjointed reality of the time-consuming work and thoughtful design invested in his seemingly impromptu paintings. Layered with gaudy splashes of fluorescent color, at first glance these towering works suggest an off-the-cuff facility and casual crudeness. The impetus for this latest series of paintings can be found in the earliest work from the series, “SOMA,” a small collage on reflective silver ground.
Positioned between “Point of Entry” and the paintings in the front gallery, this piece is a sort of link as it exhibits the distressed surfaces that will gain favor in “Looker,” “Filter” and other increasingly over-sized works. Durazo’s process reflects his admiration for the skill and dedication of Japanese priests who rake designs into the sands of sacred rock gardens. In an updated version of the Zen masters’ process, Durazo pulls carefully chosen applications of paint across horizontally positioned canvases with an industrial sized squeegee. Dichotomy rules in the imperfectly erased underlying layers of color that penetrate and interact with areas of paint applied over them, rewarding viewers who earnestly contemplate.
[ READ ON ]