tag:blogger.com,1999:blog-8296325257140096882024-02-06T19:47:10.380-08:00LAMOALos Angeles Museum of Art
Unknownnoreply@blogger.comBlogger47125tag:blogger.com,1999:blog-829632525714009688.post-23818573114664297342018-03-16T21:09:00.001-07:002018-03-16T21:09:27.894-07:00<span style="font-size: x-small;">LAMOA is a platform for an organic institution that lives through participation. LAMOA DS#3 is currently located at Commonwealth & Council 3006 W7th St #220, Los Angeles, CA 90005, </span><a href="https://commonwealthandcouncil.com/" style="font-size: small;">commonwealthandcouncil.com </a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-91663737814591924732018-03-16T21:08:00.002-07:002018-03-17T13:39:52.632-07:00LAMOA DS#3 presents: "Aunt Clara's Dilemma" by Won Ju Lim, March 17 - June 23, 2018<div class="separator" style="clear: both; text-align: center;">
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1. Space is a word that makes something of the nothing that surrounds us. Continuous and everywhere identical, space, once it is designated as such, can be subdivided into spaces. A line drawn in the sand gives two sides to space; a wall erected on the line fortifies the division; and with the addition of adjoining, enclosing walls, an interior is excerpted from the exterior. But were this structure left without any opening, it would merely be a thing in space. The delimiting function of walls would amount to nothing without the addition of entrances and exits.<br />
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2. During his period of exile in Los Angeles, Theodor Adorno heard sounds of slamming all around him. “What does it mean for the subject that there are no more casement windows to open, but only sliding frames to shove, no gentle latches but turntable handles, no forecourt, no doorstep before the street, no wall around the garden?” The attrition of the threshold in the American home, while seeming to promise greater transparency to the street and a refreshed spirit of civic conviviality, does just the opposite. All attention is drawn toward the remaining barrier, which takes on a sinister and oppressive mien. Particularly vexing for him was this “turntable handle”—the industrialized retooling of the old lever handle—the doorknob. “Thus,” he writes, “the ability is lost to close a door quietly and discretely, yet firmly.” A whole dialectics of outside and inside dissolves around the turn of the wrist coaxed by this domestic accessory.<br />
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3. Witches, as they appear on the television sitcom Bewitched (1964-1972), are figures perfectly at home in continuous space. Doors present no obstacle to them. With an effortless snap of the fingers or a twitch of the nose they can pierce the rigid boundaries of private life, a wanton transgression of the spatial economy of mid-century suburbia. The show’s protagonist, Samantha, must suppress her magical powers to suit the wishes of her continually alarmed husband, Darren. This is a problem, although it pales next to that of her Aunt Clara, whose powers are on the wane. Unable to clear the hurdle of the door in her old age and encroaching senility, Aunt Clara becomes a fetishistic collector of doorknobs.<br />
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4. “Aunt Clara’s Dilemma” is an exhibition by <span class="il">Won</span> <span class="il">Ju</span> <span class="il">Lim</span> about doorknobs, thresholds, and the moment when the old dialectic of outsides and insides becomes a mise-en-abyme. There have always been doors, and doors, in order to be opened and closed, have always been equipped with handles. Once they were carved by hand to fit back into the hand. Then machines inherited the task as a standardized ergonomic ratio. Now, the machines, having progressed to customized algorithms, deliver a handle that could directly respond to your hand. As the old model Apple computers once asked, “Where do you want to go today?”<br />
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"Aunt Clara's Dilemma" is an exhibition taking place simultaneously in two, if not three locations. LAMOA DS#3 shows a retrofitted model of the exhibition concurrently on view at DXIX Projects <a href="https://www.dxixprojects.com/">https://www.dxixprojects.com </a>(Feb 25 -April 20). The model has been enlarged, fragmented, and inverted to create a collaboration between the original model and the display system.<br />
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<span class="il">Won</span> <span class="il">Ju</span> <span class="il">Lim</span> (b. 1968, Gwangju, South Korea; lives and works in Los Angeles) received her MFA from Art Center College of Design, Pasadena in 1998. Recent solo exhibitions include California Dreamin’, San Jose Museum of Art, San Jose, CA; Aunt Clara’s Dilemma, DXIX Projects, Venice, CA; and Raycraft is Dead, Yerba Buena Center for the Arts, San Francisco, CA. She is the recipient of the 2015 COLA Individual Artist Fellowship, 2014 Creative Capital Award, 2013 Freund Fellowship, 2007 Rockefeller Foundation Media Arts Fellowship, among others.<br />
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Los Angeles Museum of Art (LAMOA), an experimental exhibition space founded by Alice Könitz in 2012, is a “platform for an organic institution that lives through participation.” LAMOA was featured in the Hammer Museum’s “Made in L.A. 2014” and <span class="il">won</span> the Mohn Award for artistic excellence. <span class="il">Won Ju </span><span class="il">Lim</span>’s “Aunt Clara’s Dilemma” is the ninth exhibition in LAMOA DS#3 at Commonwealth and Council.<br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-56454691410940164562018-03-16T20:38:00.004-07:002018-03-16T20:58:11.769-07:00LAMOA DS#3 presents: "Given" by Gabie Strong 2017<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: 12.8px;">Invocations, 2017 -Overhead, a raven (video, 7 minutes)</span><br style="font-size: 12.8px;" /><span style="font-size: 12.8px;">-Overhead a raven (audio, 30 minutes)</span><br style="font-size: 12.8px;" /><span style="font-size: 12.8px;">Given, 2017</span><br style="font-size: 12.8px;" /><span style="font-size: 12.8px;">Light-jet print, mounted to board</span><br style="font-size: 12.8px;" /><span style="font-size: 12.8px;">8 x 7 inches</span><br style="font-size: 12.8px;" /><span style="font-size: 12.8px;">Photographer: Agnes Bolt</span><br style="font-size: 12.8px;" /><span style="font-size: 12.8px;">Relics and Fetishes, 2017</span><br style="font-size: 12.8px;" /><span style="font-size: 12.8px;">Mirror glass, volcanic rocks, paint, eucalyptus leaves, eucalyptus branch, pepper leaves, pepper seeds, antique litho print, anitque postcard, seashell, </span><br style="font-size: 12.8px;" /><span style="font-size: 12.8px;">Dimensions variable</span></div>
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-84950931628554549842018-03-16T19:38:00.001-07:002018-03-16T20:16:39.720-07:00LAMOA DS#3 presents: "An Oversized Object" by David Polzin July 30 - October 2016<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white; color: #4b4f56; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;">Taking the dimensions and three sections of DS#3 into consideration, David Polzin's trifold installation experiments with scale to imagine different methods of display for a diorama, a collection, and an incomplete sculpture. One unit of DS#3 is self referential, extending an on-going collaboration with the artist Wilhelm Klotzek as KLOZIN on an exhibition at the Kunstverein Heidelberg. Using miniatures, Polzin reflects on his thought process of preparing for this exhibition, collapsing sequences of </span><span class="m_7058510528832613793yiv3350692138gmail-text_exposed_show" style="background-color: white; color: #4b4f56; display: inline; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18.76px;">events into a panoptic timeline. Adjacent unit showcases the artist’s collection of altered lighter caps that references morphology and the display of insects in glass vitrines. By co-opting a display system used for natural specimens with dismounted heads of a common industrial object, Polzin conflates the conventional method of sampling and subject of a collection. The third unit serves as a commemorative time capsule for a fragment of an actual size object that would never be built.<br clear="none" /><br clear="none" />David Polzin's (b. 1982 in Hennigsdorf, Germany; lives and works in Berlin and Los Angeles) studied sculpture at the Kunsthochschule Berlin Weißensee with Eran Schaerf and Karin Sander (2003-09) and the Bezalel Academy of Fine Arts and Design Jerusalem (2006-07). He received a work scholarship from the Jürgen Ponto-Foundation (2010-2011) and the Cultural exchange stipend of the federal state of Berlin—Visual arts: L.A. (2015-16).</span><br />
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-51496108959613646062017-05-21T11:22:00.000-07:002017-05-21T22:06:34.520-07:00Dismantling (LAMOA at Occidental College)<div class="separator" style="clear: both; text-align: center;">
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The two year residency of LAMOA at Occidental College will end with Neha Choksi's exhibition <i>Dismantling (LAMOA at Occidental College)</i>. The future of the Los Angeles Museum of Art is uncertain. It will live on in various display systems and hopefully find a new place, but it will be on hiatus for a while. </div>
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Choksi's exhibition anticipates the imminent break up of the structure. Her project reflects on the event in an essay that will be published on the LAMOA blog, and in literally taking the structure apart, and reassembling it as a pile of materials stacked up in reverse order at the Herrick Lawn at Occidental College.</div>
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Printed copies of the essay will be available on site.<br />
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Exhibition: May 22 to June 17, <span style="font-size: 12.8px;">2017</span></div>
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Closing Reception: Saturday, June 17</div>
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6-9pm</div>
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<span style="background-color: white; color: #222222; font-family: "microsoft sans serif" , "geneva" , sans-serif; font-size: 11px; letter-spacing: 1.1px;">Neha Choksi</span><span style="background-color: white; color: #222222; font-family: "microsoft sans serif" , "geneva" , sans-serif; font-size: 11px; letter-spacing: 1.1px;"> is an artist and writer who lives and works in Los Angeles and Bombay. Her solo exhibition at Commonwealth and Council, Los Angeles, closed last month. A recent institutional solo exhibition of her work was mounted at the Hayward Gallery Project Space, London, and another is forthcoming at the Manchester Art Gallery. Several new commissions include work for the 20th Biennale of Sydney (2016), the Manchester Art Gallery (2017), Dhaka Art Summit (2018), 18th Street Arts Center (2018), and the University Art Museum, California State University, Long Beach (2019). Her work has been shown at the Office of Contemporary Art Oslo, Spencer Museum, the Kochi-Muziris Biennale, the Frestas Sorocaba Triennale, Whitechapel Gallery, the Shanghai Biennale, the Asia Pacific Triennial at the Queensland Art Gallery, Kristianstads Konsthall, the Utah Museum of Contemporary Art, John Hansard Gallery in Southampton, Wanås Foundation, Khoj, and the Khoj Performance Festivals in Delhi, among others. She was recently honored with the India Today 2017 Award for the Best New Media Artist of the Year. Choksi is on the editorial board of X-TRA, a contemporary arts journal published in Los Angeles. This coming year she will serve as the Regional Representative for the Annual CAA Conference Committee. She currently teaches at Otis College. Her work is represented by Project 88.</span><br />
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<b>Neha Choksi </b></div>
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<b>DISMANTLING </b></div>
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LAMOA at Occidental College</div>
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Exhibition: May 22 to June 17, 2017 </div>
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Closing reception: Saturday, June 17, from 6pm to 9pm</div>
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I have been thinking about Alice Könitz’s Los Angeles Museum of Art or LAMOA, of her generous, generative and collaborative vision, and of the death of LAMOA. After my exhibition here ends, sometime in June, LAMOA will cease operations as a visible and accessible public space.</div>
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I find myself thinking that one will inevitably experience my exhibition as a funeral, a wake, or a visit to the hospital before the final putting to rest. My exhibition will be a foretaste of the death of that space, the free-standing, free-spirited structure wedged on the lawn between a library and an interfaith chapel at Occidental College.</div>
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When faced with fresh materials, a blank page, unused pens, unsharpened pencils, empty gallery walls, or an uninhabited space, I think of the plenitude inside the tabula rasa, the unexplored in terra incognita, a kind of via negativa to God or higher powers. I think not of the potential, but of the actual presence of absence. The vibrating infinity and the vibrating emptiness thrumming and traveling like a finger tracing a Moebius strip.</div>
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“The most beautiful is the object / which does not exist,” to quote the opening words of Polish poet Zbigniew Herbert’s 1961 poem, “Study of the Object.”<span class="s1">1</span></div>
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<span class="s1">1 </span>To resume Zbigniew Herbert’s poem, “...neither/blindness/nor/death/can take away the object which does not exist...now you have/empty space/more beautiful than the object//more beautiful than the place it leaves/it is the pre-world/a white paradise/of all possibilities....” The poem is in</div>
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Zbigniew Herbert, <i>Selected Poems</i>, trans. Czeslaw Milosz and Peter Dale Scott, with an intr. by A.</div>
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Alvarez (Penguin Books, 1968), pp. 104-8; and in</div>
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<i>The Collected Poems</i>: <i>1956</i>-<i>1998</i>, trans. Alissa Valles (Ecco reprint, 2007, pp 193-196. <span class="s2"><i></i></span></div>
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I find myself asking countless questions: </div>
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Is a pile, a stack, or a sheaf of unused materials closer to the infinite? </div>
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If I empty myself of all thoughts, as if that is possible before death clears the mind, will I be </div>
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closer to perfection? </div>
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If I lost all senses, if I hallucinate after ingesting the right agent, or if I lie warmly in a </div>
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sensory deprivation tank, are those not related? In its perverted gothic opulence, isn’t a </div>
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sensory deprivation tank self-consciously empty, challengingly blank or aloof, and thus </div>
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exceedingly inviting like a mesmerizing and attractive magnet. One can hallucinate in a </div>
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sensory deprivation tank, and then, surely, that is an experience that leads back to the </div>
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Moebius strip.</div>
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I continue filling my mind, thinking of LAMOA: </div>
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If I filled a space completely or if I left it vacant, are those not similar gestures? </div>
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Does empty space distance us or revive us? </div>
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Does the horror vacui distance us or revive us?</div>
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Closer to home, thinking about art: </div>
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Is a black monochrome the equivalent to a wall of sheer noise or is utter silence a more </div>
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apt parallel? </div>
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Is a monochrome’s complete suffusing a suffocation or a generous opening? </div>
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Is the monochrome deathly drained or vividly full?</div>
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All these questions just because my phone died. The day before the first anniversary of my friend Norman’s death, I was given his phone to use. I activated the phone with my SIM card. I turned it on. Many windows were open, all of them from his last night on earth. Dozens of messages unanswered. Over 50 emails. Various apps open. Music he must have last listened to. Videos he had shot. I was on my way to teach a video class and I realize I have been carrying around the last video Norman made before he went to sleep and failed to get up. It was at the yacht club with a band playing live music. Erica and he had been sailing that day and were planning to sail the next morning. Erica and he, entwined and happy, circle round and round and the camera circles with them. She posted it on Facebook after he passed on and I recognized it immediately on the phone’s screen. I played it for a friend. The delight on his face makes me miss him even more.</div>
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That day in class I screened two artist films, both centering on death and afterlives. The choice </div>
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was planned prior to my phone situation, and the unintentional intersection of my personal </div>
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experience and the life of the classroom seemed like an omen, an entirely appropriate and fitting overlap.</div>
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The films shown were The Propeller Group’s “The Living Need Light The Dead Need Music” and Cécile B. Evans’ “Hyperlinks (Or It Didn’t Happen).” Both works center on life after death, on the persistence of the dead, in making visible the invisible. The living need light, as one title says. </div>
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TPG’s work is hallucinatory, magical, rooted in a culture full of ritual; it features a gender </div>
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ambiguous character haunting Vietnam’s urbanscape and countryside. CBE’s work is rhizomatic </div>
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and full of voices speaking from the space of re-created or pre-created characters; it features a digitally rendered likeness of Philip Seymour Hoffman, with other virtual actors including a spam bot, an agorophobic YouTube celebrity, and Haku, a holographic pop star from Japan crooning Alphaville’s “Forever Young.” Both works deploy captivating music. The dead need music, as the title ends.</div>
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We dance, enmeshed in ritual and hyperlinks. The living and the dead coexist, co-infiltrate. And yet, how does comparing a living thing with a dead thing make sense? How does comparing, say living Arabic to dead Latin help us? A lobster in the pot to a rabbit in the meadow? Norman in the video to Norman in the urn?</div>
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And Norman’s ashen body, if not his being, is now an object imprinted with residual subjectivity. It is gratuitous, not generous.</div>
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Isn’t this a world saturated with longing and mourning, desire and death? I want to reckon with this foresight, if I may call it that, in my work for LAMOA. I want to assemble something at LAMOA that has in-built the forewarning of passing away, of death, of stasis, of regrouping before the reincarnation.</div>
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I want to go backwards.</div>
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Ada Leverson, a novelist and friend to Oscar Wilde, suggested that he take the step of publishing a book that was all margin.</div>
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I want to make my exhibition at LAMOA function as all margin, a space imprinted with residual subjectivity. It will be gratuitous instead of generous. It will be another kind of body. With the </div>
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center collapsed, the margin emanates without. My LAMOA will be an exhibition without walls </div>
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that flips the trope of using empty space as art. The body of the margin swells; it is simultaneously philosophic and aesthetic.</div>
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The phone is about 3 x 5.5 inches and weighs a fraction of the weight of his urn, which is on </div>
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Erica’s shelf, right next to the cameras he loved to use to document his work in theater and next </div>
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to the television on which Erica and I watched the 2016 election as it unfolded, and where she </div>
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curled into a foetus when Wisconsin looked doomed.</div>
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Alice’s LAMOA is around 12 x 8 feet in plan, say 10 feet tall. About the size of a large garden shed or a couple of manatees in love. Currently it is on the lawns of Occidental College as a “platform </div>
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for an organic institution that lives through participation.” It has witnessed so many exhibitions </div>
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over its life, since it first opened in December 2012 in Alice’s side-yard. And yet, unlike Norman, </div>
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this death of LAMOA is foretold.</div>
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I have been wondering about which gesture of mine at LAMOA will signal both death and afterlife. (And even if it is not obvious to anyone else, how can I honor Norman who sits in my bones and on my tongue.)</div>
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What does it mean to disappear without invoking magic? What does it mean to remember when </div>
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each act of remembering is a creative act? As Friedrich Schlegel says, “No poetry, no reality,” a rather romantic way to express that our experience of the real is dependent on the work of </div>
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poetic imagination.<span class="s1">2<span class="Apple-tab-span"> </span></span>To put things together, to organize a memory, is to create a vision anew.</div>
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When I was first invited by Alice to exhibit at LAMOA I asked if I could destroy some portion of </div>
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the structure and she asked what part I was thinking of. I remembered Meg Cranston telling me </div>
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about a work she had done at a sculpture park in Europe where the only instruction had been to </div>
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the groundskeeper not to mow a certain square of lawn over the course of the exhibition. I asked Alice if I could remove and destroy the floorboards, let the lawn grow. She had readily agreed because she thought they were scuffed beyond reuse. I was thinking of inking the floorboards to </div>
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make prints of them, of the surviving marks of use. It would be a way to overburden the space with itself, its echo, its memory.</div>
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Although this idea fulfilled my desire to signal death and afterlife, I found it too aestheticized and emotionally temperate, whereas my soul howled hot and angry, full of passion. Sometimes I felt </div>
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that if I filled LAMOA with a single stick of dynamite it would be the same as emptying it of itself; materializing the empty space that allows the artist, the dreamer, the fantasist, the hallucination </div>
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itself free play. As an artist, I would be both fulfilling and abdicating the role of seeing into the </div>
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future.</div>
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________________________</div>
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<span class="s1">2 </span>One of Friedrich Schlegel’s <i>Athenaeum </i>fragments in <i>Philosophical Fragments</i>, trans. Peter Firchow (Minneapolis: U. of Minnesota Press, 1991), p. 70.</div>
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But at that point I had not yet visited LAMOA as sited on the lawns at Occidental College. I did go </div>
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a couple of weeks ago, and on a whim asked Alice if I could stone the structure. Her </div>
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immediate alarm was palpable. I interpreted her response to mean that by stoning her beloved structure I was somehow violating her generosity, or at least her faith in artists. I then modified </div>
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my query. I was thinking about how to weave the marks the rocks leave into the flesh of LAMOA </div>
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as a mutual entanglement, something tender, despite the assumed aggression. I asked: Could I </div>
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stone it from the inside? She felt easier about that. Somehow the visibility of the outward action </div>
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and the external attack on the structure felt invasive whereas contaminating, hurting, pock- </div>
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marking and eating the space from within felt homely. <span class="s1">3<span class="Apple-tab-span"> </span></span>The interiorized (as if self-inflicted) violence was acceptable.<span class="s1">4</span></div>
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_________________________</div>
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<span class="s3">3 </span><span class="s4">Anthropologist Michael Taussig’s notion of defacement is apt, as pointed out by Dan Bustillo in an e-mail correspondence in favor of me stoning LAMOA from within. They write, “</span>The version of LAMAO that appeals to me most is the stoning from within. I find it way more powerful (and it is also closer to my own interests and research: the element of secrecy and privacy...). I also think of the immortality of the witch, of the accused, of the person who was stoned. I think of the building as a body here, whereas the lawn inside becomes too much of a plot, a burial. I know I mentioned this already but re-reading your text made me think of Taussig's notion of defacement. In his book, <i>Defacement</i>, he departs from Robert Musil's idea that the most striking thing about monuments is that we barely notice them. Musil says that "we cannot say that we do not notice them, but that they de-notice us." Taussig pushes this idea a little further and says that monuments and statues seem invisible (or achieve a status of invisibility) and become animate when they are defaced. Basically they are so invisible that their defacement is inevitable and when they are defaced they become visible, so there is a contradiction in 'defacing' a state monument for example as an act of protest. BUT he also says that it is not simple to say that defacing a monument reifies the monument and through it, state power. For Taussig, this defacement issues " a hemorrhage of sacred force." Defacement becomes a sacred act in a way. He also explores "the status of buffers" and the relationship between center and periphery and says that "Friendship is a buffer. So is secrecy." I am thinking of your mention of the margins here, the interior violence of stoning, and presence of absence.” April 26, 2017.</div>
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<span class="s5">4 </span><span class="s6">Alice wrote back via e-mail upon reading a draft of my text: “</span>[...]When I set out on establishing LAMOA the exhibitions were seen as a collaboration between two artists. My structure was perceived as an exhibition space, but it was clear at the same time that it was also an art project, a sculpture that I made. After running LAMOA for almost five years it became less of a collaboration between two artists and more of a curated exhibition space. I feel that with your engagement with the structure you turn the situation back into a collaboration. I'm glad you decided on stacking the parts in the end, rather than destroying them. I wanted to clarify my reaction, which in a polite conversation at an opening might have not come across entirely: I see LAMOA and other things that I create as an extension of myself [I feel connected to them]. I'm not particularly attached to the replaceable physical parts that constitute it, but the gesture of throwing rocks at it is both a symbolic and a real act of violence against the thing that I put into the public space. ...To me the gesture of violence doesn't make any sense directed at an institution that you describe as generous. ...[I]t felt less violating to have the stones thrown out from the inside [because] it would have felt slightly more sanctioned, like a play about violence</div>
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The violence.</div>
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I stayed with the violence long after I forgot about the floorboards, the dynamite, the rocks.</div>
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“The outer gaze alters the inner thing, by looking at an object we destroy it with our desire.”<span class="s1">5</span></div>
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I realized that, yes, I do desire, I want to dismember LAMOA with my desire. I long to honor death with the tender violence of my desire.</div>
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I want not to represent within the walls, I want to present the emptiness within. To present not sign but space. In this, the work of art exceeds its container, it is no longer an image but an expanse. (I want to stage the space—as theater; not memorialize it—not as museum.) I want to disassemble the entire body of LAMOA, back into its constituent parts: all those doors, posts, beams, hardware, concrete footings, corrugated roof, floor boards and a whole host of nails.</div>
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<span class="s7">within the perimeters of the theater. But you're right, it would have been just as aggressive, and to be honest I was less excited about it than I let on. ...Both acts of course are staged acts of violence, with the former I'm openly at the receiving end, with the latter I might just be hosting a ritual, but it may in fact be that I'm at the receiving end of a more sadistic act.” In a subsequent follow up e-mail, she clarified: “</span>Let me reiterate that I don't find anything more positive or homely about self-directed aggression than other aggression, on the contrary. It was maybe a wishful misunderstanding of your proposal on my part. It's a question of direction: Somebody hurling stuff at the museum, directing the aggression towards it on one side, versus somebody throwing stuff out: undirected mad aggression that doesn't get past the walls. I saw a possibility to not read the second one directed at the museum, but at an unknown. That's why I felt slightly more comfortable with it, it seemed to not be directed at me so much.” May 14 and May 15, 2017.</div>
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<span class="s1">5 </span>As fiction author and Columbia University professor Ben Marcus notes in <i>The Age of Wire and String </i>(Illinois: Dalkey Archive Press, 1995), p. 3.</div>
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Alice’s material list: </div>
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PVC roofing material 7 sheets </div>
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4in x 6in x 10ft posts 6 pieces </div>
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2in x 4in x12ft rafters 12 pieces </div>
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2 x 4 x 16in spacers 30 pieces </div>
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2 x 4 x 8in spacers 3 pieces </div>
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Roughly 90 roofing screws </div>
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2 x 4 x 160in wall plate </div>
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2 pieces 2 x 4 x 107in wall plate </div>
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2 pieces 2 x 4in x 8ft rail cover top 2 pieces </div>
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2 x 4 x 70in rail cover top 4 pieces </div>
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2 x 6in x 8ft rail cover side 4 pieces </div>
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2 x 6 x 70in rail cover side 8 pieces </div>
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2 x 6 x 71in cross braces 4 pieces </div>
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2 x 6 x 97in cross braces 2 pieces </div>
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8ft aluminum track 4 pieces </div>
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70in aluminum track 8 pieces </div>
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24 track wheels </div>
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4 x 8ft x 3/4in cabinet plywood for floor 3 pieces </div>
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4 x 8ft x 3/4in cabinet plywood for subfloor four and a half pieces </div>
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2 x 8 x 110in floor joists 12 pieces </div>
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2 x 8 x 7in floor joist spacers 12 pieces </div>
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2 x 3 x 6in joist hangers metal connectors 26 pieces </div>
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8in x 154in siding 2 pieces </div>
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2 x 8 x 103in siding 2 pieces </div>
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3 x 4 x 7in post anchors 6 pieces </div>
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16 x 16 x 2in concrete squares </div>
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24 machine screws </div>
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200 wood screws</div>
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If the work of art exceeds its container my work is in reassembling the body of LAMOA for the wake. I don’t want to put it in an urn. I do not want to bury it.</div>
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I have a score to help me make this work. This score exists not merely as an instructional chart, but as a paean in praise of transience, our lives after all the dyings. The score says: Reveal an ontological void where there was once an object. The work will be a construction around an emptiness, an openness; there will be nothing hidden.</div>
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Michael Thompson, a sociologist famous for his Rubbish Theory, argues that rubbish, our waste or leftovers, occupy a cultural space between the transient and the durable. So I embrace rubbish. I embrace the leftovers of LAMOA.</div>
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I have a couple of options as I see them:</div>
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I can lay each constituent component of LAMOA on the grass, embedded just enough in </div>
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the ground to be flush with the soil, in a pattern like an unfolded carton, or scattered afield </div>
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all along the lawn in groupings of kin material and shapes.</div>
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I can restack the pieces of LAMOA upside down. I can reorganize them so that the roofing </div>
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material touches the soil and the concrete footings weigh everything down from up in the </div>
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air. The pile will be within the footprint of the dismantled LAMOA.</div>
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This latter option is, finally, the one I choose to enact. Dust to dust as reincarnation.</div>
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This is tabula rasa as created, not as something given to us. This is action itself, not substrate therein. The whole disassembled into its constituent parts plays with figure-ground relationships (or composes a new figure-ground relationship). My work will be both figure and ground, my exhibition will provide context and object at once.</div>
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Norman is figure and ground for me, and now that he is gone, I remember him, the negative space he has left behind, and each remembering is an act of invention.</div>
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Learning to see negative space is healthy. Mourning is a healthy adjustment to reality.</div>
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Stanley Cavell says that tragic wisdom is our acknowledgement of the limitedness of the human condition, that tragic wisdom is our understanding of the finiteness of the finite.</div>
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This death is finite. But the dyings remain potentially infinite. </div>
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Is this a tragedy or a triumph? I will leave that for you to decide. </div>
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LAMOA is dead. Long live LAMOA.</div>
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<i> Neha Choksi Saturday, April 15, 2017, Erica’s home, Inglewood, CA Final revision, Friday, May 19, 2017, my home, Bombay, India</i></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-30716878918301359062017-04-05T11:58:00.002-07:002017-05-14T12:04:31.920-07:00Isabell Spengler - Echo Chamber<div style="font-size: 12.8px; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3_lzhpuicaJjctbvk9tK8fvrQHd7w_mNRV54NGwflXaXIA1sPPDCKPGz1JPYtL-Bd167BSOOFq0xts5tj8aOXeVu-tQuGWDeVVxYF7HwhYTFXvU_0Zg-exfDbBHjil0sED8X0ttUjazOB/s1600/video+still+VIVIANNE+ECHO+STARLITE.jpg" imageanchor="1" style="font-size: 12.8px;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3_lzhpuicaJjctbvk9tK8fvrQHd7w_mNRV54NGwflXaXIA1sPPDCKPGz1JPYtL-Bd167BSOOFq0xts5tj8aOXeVu-tQuGWDeVVxYF7HwhYTFXvU_0Zg-exfDbBHjil0sED8X0ttUjazOB/s400/video+still+VIVIANNE+ECHO+STARLITE.jpg" width="400" /></a></div>
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<b><span style="font-weight: normal;">Isabell Spengler's exhibition consists of two works - an installation and a video performance - both revolving around the theme of echo. </span></b><span style="font-size: 12.8px;">The installation transforms the exhibition space of LAMOA into the home of "Vivianne Echo Starlight", a character from a film by Isabell Spengler and Daniel Adams, shot in France in 2014. The character of Starlight is loosely based on the Greek myth of the nymph Echo, who was condemned to speak only by repeating the words of others. In their film Spengler and Adams envision her as an old actress, who has trouble remembering her glorious days in Hollywood in the 1920's, now that she lives isolated in a tiny hut in the woods of Southern France.</span></div>
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<span lang="en-US">The installation allows viewers to walk through Starlight's chambers, step into her shoes; and to share her perspective on loops, duplication, time-travelling and refractions of light and sound waves.</span></div>
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<a href="https://www.blogger.com/null" name="m_-8245464488339296464_m_-7394926751517754574_m_5544412721307160128_m_-6292466427715959032__GoBack" style="color: #222222;"></a><span lang="en-US">During the video performance, images of the hut in France are projected onto the LAMOA exhibition structure, merging the two buildings visually. The film sound is created live by Isabell Spengler and Los Angeles based artist Priyanka Ram: Starlight has a surprising comeback in her hometown - Los Angeles.</span></div>
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<b style="font-size: 12.8px;">opening: Sat. April 8th, from 6pm to 9pm</b></div>
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<b style="font-size: 12.8px;">performance by Isabell Spengler & Priyanka Ram at 8pm</b></div>
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<b style="font-size: 12.8px;">exhibition: April 9th - May 20th, 2017</b></div>
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<span lang="en-US" style="font-size: 12.8px;"><b>Isabell Spengler</b></span><span lang="en-US" style="font-size: 12.8px;"> is an artist and filmmaker based in Berlin. Spengler's films are elaborate audio-visual compositions, breaching out and connecting various forms of experimental and queer film and performance practice. Inhabiting a world of self-designed costumes, props, language, logic and time-structure, her fantastic looking protagonists struggle to fit in, appropriate, transform or just live in the real environments they encounter</span><span style="font-size: 12.8px;">. </span><span lang="en-US" style="font-size: 12.8px;">Since 1998 her films, installations and performances have been presented in exhibitions and festivals worldwide, including most recently at the Berlin International Film Festival, Festival du Nouveau Cinema in Montréal, Images Festival Toronto, WNDX Festival Winnipeg, </span><span style="font-size: 12.8px;">Glasmoog Köln, Internationale Kurzfilmtage Oberhausen,</span><span style="color: black; font-size: 12.8px;">Museum of Modern Art São Paulo, Museum of Modern and Contemporary Art Seoul, Hammer Museum Los Angeles (upcoming 2017), Trinity Square Video Gallery,</span><span style="color: black; font-size: 12.8px;">Gurevich Fine Art Gallery,</span><span style="font-size: 12.8px;"> </span><span style="color: black; font-size: 12.8px;">Redling Fine Art Gallery, Werkleitz Zentrum für Medienkunst, Halle (Saale),</span><span style="color: black; font-size: 12.8px;"><span style="font-family: "helvetica" , serif;"><span style="font-size: x-small;"> </span></span></span><span style="font-size: 12.8px;">Kunsthalle Exnergasse Wien, Redcat Theater Los Angeles, Pleasure Dome in Toronto, Haus der Kulturen der Welt Berlin, Experimenta Bangalore and </span><span style="color: black; font-size: 12.8px;">Cine Esquema Novo Festival in Porto Alegre. </span><span style="color: black; font-size: 12.8px;">She studied at the University of Fine Arts Berlin and at the California Institute of the Arts. From 2004 until 2014 she was a lecturer and professor for Experimental Film at the University of Fine Arts Berlin. For her work she received numerous grants and awards; artist residencies in Los Angeles, Tel Aviv and Toronto. <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://www.isabellspengler.net&source=gmail&ust=1491504852298000&usg=AFQjCNFZM5y3sN_rxyqjUpkzYBpc8WrzbQ" href="http://www.isabellspengler.net/" style="color: #1155cc;" target="_blank">www.isabellspengler.net</a></span></div>
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<span lang="en-US" style="font-size: 12.8px;"><b>Priyanka Ram</b></span><span lang="en-US" style="font-size: 12.8px;"> is an artist living and working in Los Angeles, CA. Through the study of Western musical scales, ancient Greek modes, Hindustani and Carnatic ragas, Ram creates visual and sound compositions that coax relationships between time, rhythm, astronomy, the body, architecture, and color. These intersections are meant to emphasize the forces that exist within and outside the body and underscore the corporeal in an era that is soaked in the cerebral. She received her degrees in anthropology and advertising from the University of Texas at Austin in 2003 and her MFA from Art Center College of Design in Pasadena, CA in 2015.<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://www.priyankaram.com&source=gmail&ust=1491504852298000&usg=AFQjCNFVwudR1WzOlEPDiA02Sz0-wa53xg" href="http://www.priyankaram.com/" style="color: #1155cc;" target="_blank">www.priyankaram.com</a></span></div>
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<span lang="en-US">supported by the Senate Department for Culture and Europe</span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-86173992221244164702017-03-29T22:51:00.001-07:002017-05-20T15:09:09.548-07:00Rachel Mason - The Moving Mountain<div style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.8px;">
<span class="m_-8012779093560335770m_4555502916208360962m_7082829998574719267m_-5295070371835379480m_1987498484881605636m_5706618359658340303gmail-m_1366150501619623749gmail-m_198427518272945656gmail-m_669019066077761963m_1873572955204694236gmail-il">Rachel</span> <span class="m_-8012779093560335770m_4555502916208360962m_7082829998574719267m_-5295070371835379480m_1987498484881605636m_5706618359658340303gmail-m_1366150501619623749gmail-m_198427518272945656gmail-m_669019066077761963m_1873572955204694236gmail-il">Mason</span>'s new project, "The Moving Mountain" is a performance platform where interviews with scientists are integrated into performances that feature biographical stories both real and imagined. <span class="m_-8012779093560335770m_4555502916208360962m_7082829998574719267m_-5295070371835379480m_1987498484881605636m_5706618359658340303gmail-m_1366150501619623749gmail-m_198427518272945656gmail-m_669019066077761963m_1873572955204694236gmail-il">Mason</span> will be using LAMOA as a songwriting studio to write songs for each of the 17 constellations attributed to human characters. This body of songs will become the foundation for performances within The Moving Mountain series. The first was on February 28 at Human Resources Gallery and was based on one star in the Andromeda constellation, Alpha Andromeda, aka Sirrah. </div>
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<span class="m_-8012779093560335770m_4555502916208360962m_7082829998574719267m_-5295070371835379480m_1987498484881605636m_5706618359658340303gmail-m_1366150501619623749gmail-m_198427518272945656gmail-m_669019066077761963m_1873572955204694236gmail-il">Rachel</span> <span class="m_-8012779093560335770m_4555502916208360962m_7082829998574719267m_-5295070371835379480m_1987498484881605636m_5706618359658340303gmail-m_1366150501619623749gmail-m_198427518272945656gmail-m_669019066077761963m_1873572955204694236gmail-il">Mason</span> is an artist, musician and filmmaker from Los Angeles. <span class="m_-8012779093560335770m_4555502916208360962m_7082829998574719267m_-5295070371835379480m_1987498484881605636m_5706618359658340303gmail-m_1366150501619623749gmail-m_198427518272945656gmail-m_669019066077761963m_1873572955204694236gmail-il">Mason</span> has recorded 13 albums, has toured, exhibited sculpture, video and performance at the Whitney Museum, Queens Museum, LACMA, Detroit Museum of Contemporary Art, School of the Art Institute in Chicago, Henry Gallery in Seattle, James Gallery at CUNY, University Art Museum in Buffalo, Sculpture Center, Hessel Museum of Art at Bard and Occidental College, Kunsthalle Zurich, Museum of Contemporary Art Detroit, The New Museum, Park Avenue Armory, Art in General, La Mama, Galapagos, Dixon Place, and Empac Center for Performance in Troy among other venues. Reviews include New York Times, Village Voice, Los Angeles Times, Flash Art, Art in America, Art News, and Artforum. Her album and feature film, The Lives of Hamilton Fish. has toured festivals and museums internationally and was released in 2016.</div>
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Rachel Mason's residency at LAMOA at Occidental College will be from Mach 21 until April 3, 2017</div>
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<span style="font-size: 12.8px;">A selection of the rough tracks she records at LAMOA will be uploaded to: </span></div>
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<span style="font-size: 12.8px;"> </span><a data-saferedirecturl="https://www.google.com/url?hl=en&q=https://soundcloud.com/LAMuseumOfArt&source=gmail&ust=1490939235466000&usg=AFQjCNFqFgE0lUMVra6uXcfcFMEUZ3AQZQ" href="https://soundcloud.com/LAMuseumOfArt" style="color: #1155cc; font-size: 12.8px;" target="_blank">https://soundcloud.com/LAMuse<wbr></wbr>umOfArt</a><br />
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=https://soundcloud.com/alice-konitz/sets/rachel-mason-rough-star-songs-works-in-progress&source=gmail&ust=1495404278750000&usg=AFQjCNGUzrXMgqScR4U3y9zemJYocUlQLw" href="https://soundcloud.com/alice-konitz/sets/rachel-mason-rough-star-songs-works-in-progress" style="color: #1155cc; font-size: 12.8px;" target="_blank">Love Songs to GW150915</a></div>
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Photo Credit: Paul Koudinaris<br />
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=https://www.pasadenaartscouncil.org/emerge/the-moving-mountain/&source=gmail&ust=1490939905097000&usg=AFQjCNGETtfEkTowheiiSTG0s4iTIt2Veg" href="https://www.pasadenaartscouncil.org/emerge/the-moving-mountain/" style="color: #1155cc;" target="_blank">https://www.<wbr></wbr>pasadenaartscouncil.org/<wbr></wbr>emerge/the-moving-mountain/</a></div>
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The Moving Mountain is part of the Emerge Projects program of the Pasadena Arts Council</div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-20330442158326373252016-11-08T11:30:00.001-08:002017-03-30T23:48:30.872-07:00Maidenhair Falls - Janet Kim<span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 12.8px;">In celebration of this year's vernal equinox </span><span class="il" style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 12.8px;">Janet</span><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 12.8px;"> </span><span class="il" style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 12.8px;">Kim</span><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 12.8px;"> has gathered waters from seven waterfalls in Southern California, and decanted them into an organic receptacle balanced on a Maidenhair tree which the artist grew from a seed when she was a child.</span><br />
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<span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 12.8px;"><span style="font-size: 12.8px;">The balance is at the hour of equinox. The balance of spirit. Reincarnation. Love.</span></span><br />
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<span class="il">Janet</span> <span class="il">Kim</span>'s exhibition <i>The Maidenhair Falls </i>will be on view at LAMOA from March's full moon to the equinox (March 12 - March 20).</div>
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Reception March 20, 4-7pm at LAMOA at Occidental College</div>
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<span class="il">Janet</span> <span class="il">Kim</span> lives in Southern California with her husband, painter and collagist Garrett Cathey, and one year old daughter Penelope. She is founder and director of Tiny Creatures and singer-songwriter and front woman of Softboiled Eggies with whom she has released two studio albums. She is currently interested in memory and rituals in photography and sculpture, storytelling and song.</div>
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<span style="color: black; font-family: "helvetica neue" , "helvetica" , sans-serif; font-size: 14px; line-height: 19.922px;">Photo Credit: </span><em style="color: black; font-family: 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 19.922px;">Objects In Mirror Are Closer Than They Appear </em><span style="color: black; font-family: "helvetica neue" , "helvetica" , sans-serif; font-size: 14px; line-height: 19.922px;">by <span class="il">Janet</span> <span class="il">Kim</span></span><br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-72838923617822756932016-11-08T11:29:00.003-08:002017-03-17T19:07:04.605-07:00Book Launch - Andreas Fogarasi<div style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.8px;">
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<span style="color: #500050; font-size: 12.8px;">Opening: </span><span class="aBn" data-term="goog_701785883" style="border-bottom-color: rgb(204 , 204 , 204); border-bottom-style: dashed; border-bottom-width: 1px; color: #500050; font-size: 12.8px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">Saturday 11/12</span></span><span style="color: #500050; font-size: 12.8px;">, </span><span class="aBn" data-term="goog_701785884" style="border-bottom-color: rgb(204 , 204 , 204); border-bottom-style: dashed; border-bottom-width: 1px; color: #500050; font-size: 12.8px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">4-6 PM</span></span><span style="color: #500050; font-size: 12.8px;"> at LAMOA at Occidental College</span></div>
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<span style="color: #500050; font-size: 12.8px;"><span style="font-size: 12.8px;">BBQ around the burning roof truss: </span><span class="aBn" data-term="goog_701785885" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: dashed; border-bottom-width: 1px; font-size: 12.8px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">Thursday 11/10</span></span><span style="font-size: 12.8px;">, </span><span class="aBn" data-term="goog_701785886" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: dashed; border-bottom-width: 1px; font-size: 12.8px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">6-11PM</span></span><span style="font-size: 12.8px;"> </span></span></div>
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<span style="color: #500050;">The exhibition will be on view until March 10 2017</span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 12.6667px; line-height: 1.38; white-space: pre-wrap;">In his sculptural and photographic work, Andreas Fogarasi investigates how things are presented to us, how architecture is conceived as an image, how images are conceived as spectacle. His installation at LAMOA evokes and reinterprets some of these gestures of presentation. </span></div>
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 12.6667px; vertical-align: baseline; white-space: pre-wrap;">An aluminum truss, the modular construction system commonly used for short-term event architecture</span><span style="background-color: transparent; color: red; font-family: "arial"; font-size: 12.6667px; vertical-align: baseline; white-space: pre-wrap;">,</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 12.6667px; vertical-align: baseline; white-space: pre-wrap;"> is modified to produce the most basic and archaic spectacle - an open fire (or rather the domesticated version of it, a neat row of gas flames). </span><span id="m_-4682691460689639404gmail-docs-internal-guid-8446478f-3daa-238d-9dd9-946daa2dec4a"></span><br />
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<span style="background-color: transparent; color: #222222; font-family: "arial"; font-size: 12.6667px; vertical-align: baseline; white-space: pre-wrap;">Next to it, a brochure holder, suspended with grand gesture in mid-air, presents a small and inexpensively printed publication, entitled FREE BOOK YEAR. Free to take away, it contains 24 photographs from various exotic and mundane places around the world. Buildings by star architects such as Gustave Eiffel, Vladimir Shukhov, Peter Eisenman or Norman Foster, are pictured alongside anonymous temporary constructions, always with a focus on how their various urban situations and surroundings interfere with the aesthetic vision of the architecture.</span><span style="background-color: transparent; color: red; font-family: "arial"; font-size: 12.6667px; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; font-family: "arial"; font-size: 12.6667px; vertical-align: baseline; white-space: pre-wrap;">Situated somewhere between snapshots and the highly codified art of architectural photography, Fogarasi offers </span><span style="background-color: transparent; font-family: "arial"; font-size: 12.6667px; line-height: 1.38; white-space: pre-wrap;">an exhibition to be taken away as a gift. </span></div>
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<span style="background-color: transparent; font-family: "arial"; font-size: 12.6667px; vertical-align: baseline; white-space: pre-wrap;">The publication's mirror cover would reflect the flames of the burning truss(entitled </span><span style="background-color: transparent; font-family: "arial"; font-size: 12.6667px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">The La Brea Tar Pits on Fire</span><span style="background-color: transparent; font-family: "arial"; font-size: 12.6667px; vertical-align: baseline; white-space: pre-wrap;">), if it wasn't impossible to light it, both for college regulations as for the simple fact that LAMOA, </span><span style="font-family: "arial"; font-size: 12.6667px; line-height: 17.48px; white-space: pre-wrap;">itself an ironic sculptural model of museum architecture,</span><span style="background-color: transparent; font-family: "arial"; font-size: 12.6667px; line-height: 1.38; white-space: pre-wrap;"> is built from wood. A photograph mounted on the back wall shows the truss in action - used as a BBQ grill a few days prior to installing it on site. Connected to an empty propane gas bottle, it sits as a dysfunctional promise of excitement.</span><br />
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<span style="background-color: transparent; font-family: "arial"; font-size: 12.6667px; line-height: 1.38; white-space: pre-wrap;">(Yes, there is some Ruscha reference, but also Yves Klein!)</span></div>
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<span style="background-color: transparent; color: #222222; font-family: "arial"; font-size: 12.6667px; white-space: pre-wrap;">Andreas Fogarasi (*1977, Vienna) is through his installations, sculptures, videos and photographs concerned with the act of showing and of representation. He analyses how places, cities, political ideas, or historic events become images and questions the role of culture – art, architecture, and design – in this process. Underlying his works is his critical examination of the mechanisms with which political appropriation operates in the field of visual culture today: the process of culturalisation of the economy – be it through „creative“ models of working and remuneration, through culture being the motor behind urban reconstruction, or as a factor in the competition for attracting tourists, investors, and media attention.</span><br />
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<span style="background-color: transparent; color: #222222; font-family: "arial"; font-size: 12.6667px; white-space: pre-wrap;">Formally informed by Minimal Art and Conceptual Art, Fogarasi’s works are at the same time documentary and autonomous sculptures. The documentary element is consciously fractured and rests on a precise balance between information and openness. The sculptural aspect is strongly architectural, often referencing iconic landmarks, commercial presentations or temporary forms of architecture such as stands at fairs, stage constructions, or pavilions.</span><span style="background-color: transparent; font-variant-ligatures: normal; vertical-align: baseline;"></span><br />
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<span style="background-color: transparent; color: #222222; font-family: "arial"; font-size: 12.6667px; white-space: pre-wrap;">Andreas Fogarasi was awarded in 2007 with the Golden Lion at the 52nd Venice Biennial for his exhibition in the Hungarian Pavilion. He participated in numerous international exhibitions at institutions such as the MAK Center, Los Angeles; Museo Tamayo, Mexico City; The New Museum, New York and had solo shows amongst others at the Museo Reina Sofia, Madrid; Galerie für zeitgenössische Kunst, Leipzig; Museum Haus Konstruktiv, Zürich; Galeria Vermelho, Sao Paulo; Prefix Institute of Contemporary Art, Toronto; Ludwig Museum, Aachen; Lombard Freid Projects, New York; Ernst Museum, Budapest; Grazer Kunstverein, Graz; and concurrently with his show at LAMOA, at Proyectos Monclova, Mexico City.</span><br />
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Photos by <span class="il" style="color: #222222; font-family: "arial" , sans-serif; font-size: 12.8px;">Sean</span><span style="color: #222222; font-family: "arial" , sans-serif; font-size: 12.8px;"> Deckert</span><br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-72915854422689769362016-10-12T21:48:00.000-07:002017-03-17T19:07:42.182-07:00Gabrielle Jennings: Start by Discarding<br />
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<span style="font-family: "calibri"; font-size: 10pt;"><br class="Apple-interchange-newline" />Our growth and consumption-driven economy produces an enormous amount of stuff that becomes obsolete in a very short amount of time and then is thrown out, making room for ever the new. Often these rejects can be found discarded on the sidewalks near peoples' homes in the neighborhoods of Los Angeles. Gabrielle Jennings photographed these abandoned things and has silhouetted them with various shades of green, referencing the video practice of chroma-keying. This is the process of isolating a single color in an electronic image and using software to make that area transparent, allowing another image to show through the affected areas. Accentuating the idea of absence and presence, Jennings uses the sliding doors of LAMOA to display before and after images of each discarded object printed as a series of 12 posters. Literature related to the subject matter of the exhibition – the discarded detritus of contemporary life, our culture’s obsession with stuff, and the self-help, organizational trends that promise to transform our lives – are strewn across the floor of the space and available for the taking. Marie Kondo’s wildly bestselling </span><em><span style="font-size: 10pt;">The Life-Changing Magic of Tidying Up</span></em><span style="font-size: 10pt;"> is among them. </span><span style="font-family: "calibri"; font-size: 10pt;">Additionally, triangular shade sails painted in various shades of DIY green screen paint and attached to the building structure intersect the space and re-present the silhouetted shapes as places of psychic projection. </span></div>
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<span style="color: #500050; font-size: 10pt;">Please join us for </span><span style="font-family: "helvetica neue"; font-size: 9pt;">Start by Discarding</span><span style="font-family: "helvetica neue"; font-size: 8pt;">, an installation by Gabrielle Jennings on display at LAMOA October 15 - November 6th.</span></div>
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<span style="color: #500050;"><span style="font-family: "calibri" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;">Extra
posters will be available to the public.</span></span></span></div>
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<span style="color: #500050; font-family: "calibri" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 13.3333px;">Please Join us for </span></span><em style="color: #500050; font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 10pt;"><span style="color: black;"><span style="font-family: "helvetica neue" , "helvetica" , sans-serif;"><span style="font-size: 9pt;"><span style="font-style: normal;">Start
by Discarding</span></span></span></span></em><span style="color: black; font-family: "calibri" , "arial" , "helvetica" , sans-serif; font-size: 10pt;"><span style="font-family: "helvetica neue" , "helvetica" , sans-serif;"><span style="font-size: 8pt;">,
an installation by Gabrielle Jennings on display at LAMOA October 15
- November 6th.</span></span></span></div>
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<span style="color: black;"><span style="font-family: "helvetica neue" , "helvetica" , sans-serif;"><span style="font-size: 8pt;">LAMOA
is free and open to the public Monday - Saturday, 10AM to 5PM. </span></span></span></div>
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<span style="color: black;"><span style="font-family: "helvetica neue" , "helvetica" , sans-serif;"><span style="font-size: 9pt;"><span style="font-size: 8pt;">Gabrielle
Jennings is a multi-media artist and Associate Professor teaching in
the graduate Art program at the Art Center College of Design in
Pasadena. Jennings has shown nationally and internationally with her
most recent exhibition being at MiM Gallery in Los Angeles. Jennings
has been artist in residence at Kunstlerhaus Bethanien, Berlin and
200 Gertrude Street Artist Spaces, Melbourne and has been honored
with support from such organizations as the Art Matters Fellowship,
Philip Morris Kunstforderung, and the Samsung Faculty Enrichment
Grant. Among others, writers Harold Fricke, Jeremy Gilbert-Rolfe, Cay
Sophie Rabinowitz, and Jan Tumlir have written about her work.</span></span></span></span><br />
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<span style="color: black;"><br /></span><span style="color: black;">Photos by Rachel Bank</span>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-65847339352175835482016-07-14T15:32:00.002-07:002016-09-21T22:31:03.491-07:00Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-31409705345845909892016-07-14T15:32:00.001-07:002016-09-22T12:24:33.600-07:00Kim Schoen: Fontane Gurgulear<div class="p1">
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<b>Le Fontane Gurgulear—Vos debe vider isto! </b></div>
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<b>In qualunque lingua, un del parolas le plus belle certo es Gurgulear. Fontane Gargarisar, Fontane </b></div>
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<b>Stuffa-Boca, Fontane Guttear, et Fontane Rost-Grasse es proxima, ma Fontane Gurgulear es le plus </b></div>
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<b>physicamente e opulente.</b></div>
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<b>Del abundantia del corde le bucca parla. </b></div>
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<b>E in le cavo de nostre corpore, sonos nascer. </b></div>
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<b>Nostre buci gutta, le valvula gutta.</b></div>
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<b>E le estate es le tempore quando aqua sonos </b></div>
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<b>le plus belle.</b></div>
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<b>Si il vos place, reveni. </b></div>
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<b>Retorna a Fontane Gurgulear! *</b></div>
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You are cordially invited to <i>Fontane Gurgulear</i>, an installation by Kim Schoen, opening at LAMOA August 14th </div>
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from 3—6 p.m. Schoen works with the rhetorics of display across various mediums. Her interest in fountains dates back to a residency at Fabrikken in Copenhagen, where she experienced Tivoli Gardens in the dead of winter. The video she made there, <i>The Second Oldest Amusement,</i> was shown alongside another video, <i>Have You Never Let Someone Else Be Strong </i>(shot un-permitted at the Bellagio Fountains in Las Vegas) at her 2015-2016 solo show at MMoCA. <i>Wet Technologyy</i>, a suite of performative photographs made in 2015, features ornamental fountain nozzles put to new use. <i>Fontane Gurgulear</i> (The Drooling Fountain) now continues her line of inquiry into the pathetic aspects of the often spectacular or propagandistic uses of fountains as emblems of power, prestige and accretions of wealth. Schoen’s work re-inserts the idea of the human body back into the mechanics of display that we are routinely confronted with.</div>
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The brochure’s text that advertises <i>Fontane Gurgulear </i>(featured above) is written in Occidental Language. Occidental is an invented language, devised in the 1920s by Edgar de Wahl based on various Western (Occidental) languages. In addition to the brochure, a series of posters advertising the fountain are located around the Occidental College Campus, featuring empty fountains and their exposed piping, reflected in the installation at LAMOA.</div>
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<span class="s1"><b>Kim Schoen</b> holds an MFA from CalArts (2005) and a Masters in Philosophy from the Royal College of Art in London (2008). </span>Recent exhibitions of her work include <i>Komma,</i> (Kunstverein Springhornhof, Germany)<i> Have You Never Let Someone Else Be Strong</i>, (MMoCA), <i>duh? Art & Stupidity </i>(Focal Point Gallery, UK), <i>Imitation Game </i>(Maraya Art Centre, Sharjah, UAE), <i>Remembering Forward</i>: (LAXART, L.A.), <i>Objective Considerations of Contemporary Phenomena </i>(MOTInternational Projects, London), and <i>Stupidious</i> (South London Gallery, London). Schoen’s work has been written about in the Los Angeles Times, Art in America, and her essays on repetition and photography (“The Serial Attitude Redux”, “The Expansion of the Instant”) have been published in X-TRA Quarterly for Contemporary Art. Kim is also the co-founder and editor of MATERIAL Press.</div>
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<i>* (Translation from Occidental Language to English Language)</i></div>
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The Drooling Fountain—you’ve got to come to see this!</div>
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One of the most beautiful words in any language would be drooling. </div>
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The Gargling Fountain, The Gagging Fountain, The Dribbling Fountain, and The Dripping Fountain come close, but The Drooling Fountain is the most physical and opulent. Out of the overflow of the heart the mouth speaks. In the recesses of our body, sounds spring forth. </div>
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Our mouths are running; the taps are running. </div>
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Summer is the season when water sounds most beautiful. </div>
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So please, return. Return to The Drooling Fountain!</div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-70248534951277841162016-06-21T23:30:00.001-07:002016-07-19T17:32:09.713-07:00LAMOA presents Comedy with Maria Bamford, Solomon Georgio, Vince Caldera, Luis Lemus, Melissa Villaseñor & Jackie Kashian<div class="separator" style="clear: both; text-align: center;">
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LAMOA presents Comedy with Maria Bamford, Solomon Georgio, Vince Caldera, Luis Lemus, Melissa Villaseñor & Jackie Kashian<br />
Organized by Scott Marvel Cassidy<br />
Wednesday, July 20, 2016<br />
8 pm<br />
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The event will take place at the Bird Hillside Theater at Occidental College.<br />
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-45702127642428717682016-06-21T23:28:00.001-07:002016-08-04T16:46:55.170-07:00Scott Marvel Cassidy: Levitate the White House<div style="color: #222222; font-family: arial, sans-serif; font-size: 12.8px;">
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<span style="font-size: 12.8px;">Scott Marvel Cassidy's project at LAMOA deals with gentrification, both as a phenomenon in local areas of Los Angeles such as as the Eagle Rock/Highland Park area and as a development that includes and affects the art world on multiple levels. His observations are displayed in a structure of thin plywood housing three dioramas. Cassidy's paintings, drawings and sculptures represent reality in a dreamlike state. His work focuses on the intersecting themes of memory, the immediate physical environment and the quandaries of referring to paintings as purely representational.</span></div>
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<span style="font-size: 12.8px;">From Campus Road at Occidental College walk up to the fountain, turn right at the chapel, and walk downstairs by the library.</span></div>
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<span style="font-size: 12.8px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYpVnRfU_CSSP-10qJf2vLtOkKBfhhNlsSPujryRlIwUh5nVKDYZleRaB2sqQpSok-n-Dn-lrEsWLuDiOfUK77R6mppDze_oe37Tvm0p1kgpPMnAuOQhmZafsFYLtdlyzYXh4fSkgzLS0T/s1600/Scott9.jpg" imageanchor="1" style="font-size: 12.8px; text-align: center;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYpVnRfU_CSSP-10qJf2vLtOkKBfhhNlsSPujryRlIwUh5nVKDYZleRaB2sqQpSok-n-Dn-lrEsWLuDiOfUK77R6mppDze_oe37Tvm0p1kgpPMnAuOQhmZafsFYLtdlyzYXh4fSkgzLS0T/s400/Scott9.jpg" width="400" /></a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYZi5xxusly5iHNK_xffJEZfLA9QgcXjqg-XjpaZLXWjgvmuBAHqj4yLYacLqhJKm5JZB81rcv-98Mk6SKtjEVZbq3Up-fQJmHsNvz05n8T50_tBsbz0ul0ioMpBYmw3KoRsJKB9k98o94/s1600/Scott7.jpg" imageanchor="1" style="font-size: 12.8px; text-align: center;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHxanexXj3yVsxGlISY5siIenSa460Xkc-9JLj84RzPY6kCL5Nimy3xRsPqUm9Q0F8fJ9NWNXr6vMtpaQBsqlGYD0aEs8aLOK5fx1H51MPSI5B8OEYx8_xArpub3raliOwfjMJzX0N4Ylo/s1600/unnamed-12.jpg" imageanchor="1"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHxanexXj3yVsxGlISY5siIenSa460Xkc-9JLj84RzPY6kCL5Nimy3xRsPqUm9Q0F8fJ9NWNXr6vMtpaQBsqlGYD0aEs8aLOK5fx1H51MPSI5B8OEYx8_xArpub3raliOwfjMJzX0N4Ylo/s400/unnamed-12.jpg" width="400" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixHQAWuRbN77t6JZehkEy4s7IAIWYa2UB8v1R_xOimKsbQXt0lm0G95eo3wr_exN36uIyZ66UETbnjq2BQmWUoVPsqZlZ3LHQ4hYGChxGw4oPH44afmsqhdZyPPkIzV5896h7Q8_z2dAhS/s1600/unnamed-11.jpg" imageanchor="1"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixHQAWuRbN77t6JZehkEy4s7IAIWYa2UB8v1R_xOimKsbQXt0lm0G95eo3wr_exN36uIyZ66UETbnjq2BQmWUoVPsqZlZ3LHQ4hYGChxGw4oPH44afmsqhdZyPPkIzV5896h7Q8_z2dAhS/s400/unnamed-11.jpg" width="400" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs1zgtJ196cKWAKSqMP3Viqlw6kfJmq6rvib8H2gfpQLn0mYu80GNyuvLQ0FfMY_lwv-IqKVDfUaWdO984tlI2vaWVNWodjPySpIOmF4p34VlAueKgpnpjZYk9Occ4-3tJyw-eV47giSE0/s1600/CACA.jpg" imageanchor="1" style="font-size: 12.8px;"><img border="0" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs1zgtJ196cKWAKSqMP3Viqlw6kfJmq6rvib8H2gfpQLn0mYu80GNyuvLQ0FfMY_lwv-IqKVDfUaWdO984tlI2vaWVNWodjPySpIOmF4p34VlAueKgpnpjZYk9Occ4-3tJyw-eV47giSE0/s400/CACA.jpg" width="400" /></a><span style="color: #222222; font-size: 12.8px;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB-xwEC2MD1OTGQt8VBUITpaiUrBmPMLhWe8fK9xv4iWeUU_TyWBNXjAaHulXoLSL6BXAAufZs4ZhZ43u6m-37FgGEV3gRwbgnnqVDbxzRhmeXbqSl0TSSYMwR02YV5Mty2_Y7o6WPuie1/s400/Wickerman.jpg" width="400" /><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwJIv-1gyLH-QyZB95hgKoQpRQdaE3oR76mcd7kVreqSx61siiLUezCySm7ORAEC3mViwDTDwKW-yi36FbEHIMznFsa61dW_8UZ4d9xLiUGxGBz0bLGJjAaS55RQKaJRtv2L3eeQFYjFPK/s400/no+one+cares.jpg" width="400" /><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXF6_zvaZ-3QbK6O72TF6LcuLZOAPaie8D-4mpSuV1XQ6zLOMgaobh8AIo09h1tlP-tz-lTMpfKeBX_rj132w7RiG3J9awtmhw5aGq2fAAFDrsklCPkTo3yjrgyqi5T7rHNAll3d4HLHBp/s400/boxes+and+springs.jpg" width="400" /></span><br />
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<span style="color: #222222;">Photos by Rachel Bank, John Pearson and Jack Baker</span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-20035336125644075552016-04-25T16:41:00.001-07:002016-06-16T12:14:54.959-07:00Paul Gellman at DS#3 at Commonwealth and Council<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTahj3gPh4DZQwetfuR6mzr3C1F0v1XBlvSBGI077RNveddHft85PNBNzE_NhCnJgIsQibXG4sqOJ1Fisys0pqhW2jpJ-UfP59yuLgZ_EN2t9pPigYnUoLmIhyphenhyphenHidmi0d32T7gqjwYQD8D/s1600/RVD_5599_WEB.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG2RvpvsjRlPPYlQCnDJW6NwWsAZXpHi9JBdQrb4hsg1i9Me8cXbRMLX4huvmi9K_RO_ewvz4ZNlYh7hyrQnrlZlq-LWMRsExwmh7toQE3fxQS_452Ms_dqiYqM4oBVNTXLk4JN8GEiG5m/s1600/RVD_5597_WEB.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG2RvpvsjRlPPYlQCnDJW6NwWsAZXpHi9JBdQrb4hsg1i9Me8cXbRMLX4huvmi9K_RO_ewvz4ZNlYh7hyrQnrlZlq-LWMRsExwmh7toQE3fxQS_452Ms_dqiYqM4oBVNTXLk4JN8GEiG5m/s200/RVD_5597_WEB.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxBnbcj_YPAQjlgltigHRwuLsJ0ypd6eZxc-AChO2W23O5cWi8emmjCD9EDanNkj11zqpdvmdYeA17oTJ2SxEq51Enc05viKNy4Pg5XRLehNkuQsSASsKgT6FH1W6ZxtiBUAzlGYnDUdVD/s1600/RVD_5588_WEB.jpg" imageanchor="1"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjclvODS6j6b2gFRK7Gn61thPKTYIyEbjAMGbcZSfzmmJ5SjWy3flEiCBf5d9rtphGSVawPccAHCk-OYBrSHhCYBep0ycSK8J_BuTFcALLY3DGphCCluPq78813pNNsFOsMnPAmuZZSLXS-/s1600/RVD_5593_WEB.jpg" imageanchor="1"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG2RvpvsjRlPPYlQCnDJW6NwWsAZXpHi9JBdQrb4hsg1i9Me8cXbRMLX4huvmi9K_RO_ewvz4ZNlYh7hyrQnrlZlq-LWMRsExwmh7toQE3fxQS_452Ms_dqiYqM4oBVNTXLk4JN8GEiG5m/s1600/RVD_5597_WEB.jpg" imageanchor="1"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnKviTyObzHjiTzuChQ4HaWtmwGSNIh5Q34jw5pDjgW3T7iZxEaKlxKQgD4O-bna_VepP8Ubyb_REnDx5nFM-NDf5ri-NUgCBQXKGxsBaTcYZKVHc5-xLVGN8PME77aKNfkrekea5mHeME/s1600/RVD_5599_WEB.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnKviTyObzHjiTzuChQ4HaWtmwGSNIh5Q34jw5pDjgW3T7iZxEaKlxKQgD4O-bna_VepP8Ubyb_REnDx5nFM-NDf5ri-NUgCBQXKGxsBaTcYZKVHc5-xLVGN8PME77aKNfkrekea5mHeME/s320/RVD_5599_WEB.jpg" width="235" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxBnbcj_YPAQjlgltigHRwuLsJ0ypd6eZxc-AChO2W23O5cWi8emmjCD9EDanNkj11zqpdvmdYeA17oTJ2SxEq51Enc05viKNy4Pg5XRLehNkuQsSASsKgT6FH1W6ZxtiBUAzlGYnDUdVD/s1600/RVD_5588_WEB.jpg" imageanchor="1"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjclvODS6j6b2gFRK7Gn61thPKTYIyEbjAMGbcZSfzmmJ5SjWy3flEiCBf5d9rtphGSVawPccAHCk-OYBrSHhCYBep0ycSK8J_BuTFcALLY3DGphCCluPq78813pNNsFOsMnPAmuZZSLXS-/s1600/RVD_5593_WEB.jpg" imageanchor="1"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbWmju2KDGO8sTUCjR61xHzD71bpGDHTVmB0pUQi-1b9HsjFFuN8M-ys0O2noowGLFipVKriEJc4M0Onku0QyR7AMs3teZkZzJAqebVQv8ywsW7o2f1pBzJpDcLDGYajiwtrKyLo0eHL9P/s1600/RVD_5603_WEB.jpg" imageanchor="1"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbWmju2KDGO8sTUCjR61xHzD71bpGDHTVmB0pUQi-1b9HsjFFuN8M-ys0O2noowGLFipVKriEJc4M0Onku0QyR7AMs3teZkZzJAqebVQv8ywsW7o2f1pBzJpDcLDGYajiwtrKyLo0eHL9P/s200/RVD_5603_WEB.jpg" width="142" /></a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-6732802523277624712016-04-25T16:39:00.001-07:002016-08-04T16:47:49.362-07:00Villa of Mysteries - Ruby Neri /The Real Art Hangers of Cheviot Hills - Paul Gellman<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMYeujFhtS16aCvMAsSF4F1017CWTopj4qkS7XfZabTobGYF8C2zenuluTN7IzN6BorM39yMhE0fJ7q5RDBHkCpS9hIA4UXgF_MG7U5I9mm1QJUdVMzjV1lztEVtkUaoZhaOw8-6y5IChU/s1600/e3f6c734697c5839c3ef951dca6ecfc9.jpg" imageanchor="1"><img border="0" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMYeujFhtS16aCvMAsSF4F1017CWTopj4qkS7XfZabTobGYF8C2zenuluTN7IzN6BorM39yMhE0fJ7q5RDBHkCpS9hIA4UXgF_MG7U5I9mm1QJUdVMzjV1lztEVtkUaoZhaOw8-6y5IChU/s400/e3f6c734697c5839c3ef951dca6ecfc9.jpg" width="400" /></a><br />
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Artists Ruby Neri and Paul Gellman who have collaborated on numerous projects came together to transform LAMOA into a stage for the theatric performance of <i>The Real Art Hangers of Cheviot Hills, </i>a one-act play written by Paul Gellman and performed by a cast that includes both artists and a group of amateur actors. The set is defined by Ruby Neri's murals titled <i>The Villa of Mysteries, </i>inspired by the famous ancient Roman frescos which are widely believed to show the initiation of a young woman into a Graeco Roman mystery cult. The murals are painted on canvas sheets attached to both the inside and the outside of the building.</div>
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The performance will be on Sunday, May 1st 2016 starting at 3pm </div>
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The mural will be on view until the end of May<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNHJ6dYhijqWde99uQSWPcOvKDnmNtzAuWEQguEntMxOqwilCz8VUEIMy4mg19e54gUFvBo_0ehi-xzfdaEG187hozk6rZRruyEPHGV1JW50mlTc7Y8QyF5wN5Hd_dI3NUA4gV2W6Ixkvl/s1600/Screen+shot+2016-05-01+at+8.58.31+PM.png" imageanchor="1"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNHJ6dYhijqWde99uQSWPcOvKDnmNtzAuWEQguEntMxOqwilCz8VUEIMy4mg19e54gUFvBo_0ehi-xzfdaEG187hozk6rZRruyEPHGV1JW50mlTc7Y8QyF5wN5Hd_dI3NUA4gV2W6Ixkvl/s320/Screen+shot+2016-05-01+at+8.58.31+PM.png" width="320" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgupXuLg7qf3EGyHxyo_ZtkifgaCe1Yn3bhWNlSVsqd41uxeZ02kKWNKF0lti9Mfujlk68DZ1r71n164UyVuT9zDLjDBw8ZhEak4Cy5Cx8cfbPrRaLCgaFm9LrYcGTSMxWbEyiXVzFiwtvI/s1600/Screen+shot+2016-05-01+at+9.06.39+PM.png" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgupXuLg7qf3EGyHxyo_ZtkifgaCe1Yn3bhWNlSVsqd41uxeZ02kKWNKF0lti9Mfujlk68DZ1r71n164UyVuT9zDLjDBw8ZhEak4Cy5Cx8cfbPrRaLCgaFm9LrYcGTSMxWbEyiXVzFiwtvI/s320/Screen+shot+2016-05-01+at+9.06.39+PM.png" width="212" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRffys8z5CnhwBQA9yTEWE3jFbP7kF6gnbRo1vQsJAT5RZUn_cjgQhNLX5YO8bo25adad9AVICBk0CX_UhV0X5NqqFjg021jR5PNL6k_xY4zIgq-cPPmUAQRN3AmRwaX_Xv1lKMCFdlvjl/s1600/Screen+shot+2016-05-01+at+9.07.24+PM.png" imageanchor="1" style="font-size: 12.8px;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRffys8z5CnhwBQA9yTEWE3jFbP7kF6gnbRo1vQsJAT5RZUn_cjgQhNLX5YO8bo25adad9AVICBk0CX_UhV0X5NqqFjg021jR5PNL6k_xY4zIgq-cPPmUAQRN3AmRwaX_Xv1lKMCFdlvjl/s320/Screen+shot+2016-05-01+at+9.07.24+PM.png" width="214" /></a><br />
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Photos by Rainer Komers<br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-22744664236431487252015-10-09T10:48:00.000-07:002016-01-07T12:18:32.249-08:00Alice Clements - Primary<div class="MsoNormal" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.8px;">
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<i>Primary</i> is a sculptural installation designed and built for LAMOA’s first show at Occidental College. The piece is made up of two painted A-frame partitions resting on the center beam of LAMOA’s roof. It is designed to reflect and expand on the design of Könitz’s structure, while politely intervening in the space.<u></u><u></u></div>
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The front partition is made to be stepped over and under by the viewer. The height of this step up matches the height of the initial step up into the museum space. Clements has used her own body proportions to design the partition such that the viewer has to step up and duck under the front partition to arrive at the space between the two partitions which is painted yellow on both sides, making it a space of its own.<u></u><u></u></div>
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The dimensions of the back partition are taken from the shoulders-to-head cropped frame of the standard elementary school photo, so that the visitor between the partitions appears framed by a backdrop echoing elementary school picture conventions, though using design elements inspired by mid-century French designer Jean Prouvé. <u></u><u></u></div>
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From outside the structure, the visitor inside is visually truncated into body parts by the partitions. Subtle humor lies in the way the circles perforating the partition can be used as framing port holes or otherwise break up the view from the inside and body from the outside. <u></u><u></u></div>
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The title <i>Primary</i> refers to the fact that this is the first show at LAMOA during its stay at Occidental College, as well as reflecting the artist’s interest in structuring the space in simple ways. Primary colors and gray reinforce the way the piece addresses the foundations of design.<br />
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Photos: Veit Bastian<br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-87984228385081866772015-05-03T21:51:00.000-07:002015-08-11T08:20:35.229-07:00<br />
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<strong><em> Los Angeles Museum of Art (LAMOA)</em> installed at Occidental College</strong></h1>
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<tr><td style="color: #606060; font-family: Helvetica; font-size: 15px; line-height: 22.5px; margin: 0px; padding: 9px 18px;" valign="top"><span style="font-size: 11px;"><em>Los Angeles Museum of Art (LAMOA), </em>2012</span></td></tr>
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<tr><td style="color: #606060; font-family: Helvetica; font-size: 15px; line-height: 22.5px; margin: 0px; padding: 9px 18px;" valign="top"><em>Los Angeles, CA </em>– Occidental College is pleased to announce that Alice Könitz’s award-winning work, <em>Los Angeles Museum of Art (LAMOA),</em> has been installed on the campus. The piece is currently on view with programming scheduled through the 2015-2016 academic year. The <em>LAMOA</em> bookstore will also be sited at the college as part of the installation. The inaugural exhibition will feature work by Los Angeles based artist, Alice Clements. A public reception will be held on <span class="aBn" data-term="goog_1192714077" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: dashed; border-bottom-width: 1px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">Wednesday, September 16, 2015</span></span>, from <span class="aBn" data-term="goog_1192714078" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: dashed; border-bottom-width: 1px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">5:00 – 8:00 PM</span></span>.<br />
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<em>LAMOA</em> is an approximately 13’ x 10’ x 10’ exhibition space curated by Könitz, and a sculpture in its own right. Established in Könitz’s Eagle Rock backyard in 2012, the museum is a venue for exhibitions and performances from members of her artistic community. Artists are invited to create work specifically for the venue and its unique structural form. Through this arrangement the space evolves with each exhibition into a new audience experience.<br />
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The work manifests the artist’s interest in the relationship between public and private space. The museum is an open space formerly in the setting of her personal home. With the move to Occidental, it will shift boundaries becoming part of the academic setting and the students’ everyday lives. The artist describes <em>LAMOA as</em> “a platform for an organic institution that lives through participation”. The structure depends upon public interaction for its role as a museum.<br />
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Occidental is excited about this collaboration and looks forward to working with Könitz throughout the year. “Hosting the recent recipient of the Mohn Award honoring artistic excellence at the Hammer Museum’s <em>Made in L.A. 2014 </em>exhibition is an honor and we are excited about the opportunity for the students to engage with the work,” says OxyArts Director, Aandrea Stang. “With the campus installation, <em>LAMOA</em>will create dialogue within the campus community and for a broader Los Angeles audience.”<br />
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A public reception for <em>LAMOA</em> will be held on <span class="aBn" data-term="goog_1192714079" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: dashed; border-bottom-width: 1px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">Wednesday, September 16, 2015</span></span>, from<span class="aBn" data-term="goog_1192714080" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: dashed; border-bottom-width: 1px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">5:00 – 8:00pm</span></span>. For ongoing <em>LAMOA</em> programming and calendar information, please visit the <em>LAMOA</em> (<a href="http://losangelesmuseumofart.blogspot.com/" style="color: #1155cc;" target="_blank">http://losangelesmuseumofart.<wbr></wbr>blogspot.com/</a>) and OxyArts (<a href="http://www.oxy.edu/oxyarts" style="color: #1155cc;" target="_blank">http://www.<span class="il">oxy</span>.<span class="il">edu</span>/oxyarts</a>) websites.<br />
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<strong>Alice Könitz</strong> is a Los Angeles-based artist from Düsseldorf, Germany. She attended the Kunstakademie in Düsseldorf before moving to California and receiving her MFA from CalArts. Her work has been included in exhibitions such as the UCLA Hammer Museum’s <em>Made in L.A. 2014</em> and the 2008 Whitney Biennial. She has been featured in Artforum, Frieze magazine, and the New York Times.<br />
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<strong>Alice Clements</strong> lives and works in Los Angeles. She received her BA from Wesleyan University prior to completing her MFA from the Art Center College of<br />
Design. Her work has been shown at Elephant, Jancar Gallery, and PØST in Los<br />
Angeles.</td></tr>
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<span style="background-color: white; color: #7f6000; font-family: arial, sans-serif; font-size: 13px;"><br /></span><span style="background-color: white; color: #7f6000; font-family: arial, sans-serif; font-size: 13px;">Contact: alicekonitz(at)gmail.com</span><br />
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<span style="color: #7f6000;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 18px;">LAMOA is a platform for an organic institution that lives through </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 18px;">participation.</span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-64740828818164746412015-05-03T21:41:00.002-07:002015-06-16T19:35:57.609-07:00Sharp Elbows/LAMOA Projects Series<div class="p1">
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<b>Sharp Elbows</b></div>
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Michael Minelli, Rebecca Ripple, and Tyler Vlahovich</div>
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<i>Organized by John Pearson</i></div>
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May 10-31, 2015</div>
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Sharp Elbows is an installation curated by John Pearson and includes the work of Michael Minelli, Rebecca Ripple and Tyler Vlahovich. The work in Sharp Elbows are held in composition by an exquisite tension that explores how boundaries (whether real or imagined) often bring into play the proposed limits of the body, of memory and lived experience. Within Sharp Elbows, these implied limitations elicit responses that are as tactile and suggestive, as they are fragile and fierce.</div>
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This is the second exhibition in the LAMOA Project series. The project space has been redesigned for this particular installation.</div>
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Opening Reception May 10, Sunday, 5-8pm<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd_QGuq8p22HmGDkUkkj_QhYnJr7fr2y9W2FIRwr4hxF-tQOeoLlFqvaAqQwCRn1J8WeA7V1nJwn15hmDDvRsqKFu9_lajDhdIrBXvKvEEdLTQJnbzxFr-EggYHbvSbHGUmq5ZLu1QdK4d/s1600/Screen+Shot+2015-06-16+at+4.51.33+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd_QGuq8p22HmGDkUkkj_QhYnJr7fr2y9W2FIRwr4hxF-tQOeoLlFqvaAqQwCRn1J8WeA7V1nJwn15hmDDvRsqKFu9_lajDhdIrBXvKvEEdLTQJnbzxFr-EggYHbvSbHGUmq5ZLu1QdK4d/s400/Screen+Shot+2015-06-16+at+4.51.33+PM.png" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="separator" style="clear: both;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">view of the bookstore and the exhibition "Sharp Elbows"</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">works by </span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Michael Minelli,</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Rebecca Ripple,</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Tyler Vlahovich</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">in the back </span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">view of the exhibition "danach draußen" </span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">paintings by </span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Jan Stieding </span></div>
</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo9xkrjcmOdtGG-kaaSrI0jx9CASqd_Vq9ynEaIDcRTfKbRuzXYYHS8_rktvbDc_h4N4qk_qko4o5JFrXr4msd_NpoW4jcrkbss1grvZsq6PBAiAq8Ozuwg2VTkwas2GjjaMOILMW_ZDg1/s1600/Screen+Shot+2015-06-16+at+4.49.07+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /> <img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo9xkrjcmOdtGG-kaaSrI0jx9CASqd_Vq9ynEaIDcRTfKbRuzXYYHS8_rktvbDc_h4N4qk_qko4o5JFrXr4msd_NpoW4jcrkbss1grvZsq6PBAiAq8Ozuwg2VTkwas2GjjaMOILMW_ZDg1/s400/Screen+Shot+2015-06-16+at+4.49.07+PM.png" width="265" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;">view of the exhibition "Sharp Elbows"</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">works by </span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Michael Minelli, <b style="color: #222222;">sponge (from souvenirs)</b><span style="background-color: white; color: #222222;">, </span><span style="background-color: white; color: #222222;">2007-present, </span><span style="background-color: white; color: #222222;">Sculpey III, </span><span style="background-color: white; color: #222222;">5/8" x 5/8" x 3/8”</span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Rebecca Ripple, <span style="color: #222222;"><b>ar</b>: from Barrel of 'f's, </span><span style="background-color: white; color: #222222;">2015, </span></span><span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: x-small;">stainless steel, rubber, and silicone, </span><span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: x-small;">8" x 5" x 3" (variable)</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Tyler Vlahovich, <b style="color: #222222;">Elmo Event</b><span style="background-color: white; color: #222222;">, 2015, </span><span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: 12.8000001907349px; text-align: start;">Elmo balloon, string, and sharpie, </span><span style="background-color: white; color: #222222;">14" x 14" x 6" (not including string)</span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihVmPzHX4rZJ6VqZaUDCoKBXSd2CtD7viPkkUGPKvHH3g5MULMcdOm0vNOSRyEz8BmVnlAx6TDRyOVa01j4nC3pHi4E9nGr_u1sQxiahIBMwvyTQ7QDric7dCyrx1BPMqC9XoTaYpiE0v7/s1600/Screen+Shot+2015-06-16+at+4.49.19+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Times, Times New Roman, serif;"><img alt="" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihVmPzHX4rZJ6VqZaUDCoKBXSd2CtD7viPkkUGPKvHH3g5MULMcdOm0vNOSRyEz8BmVnlAx6TDRyOVa01j4nC3pHi4E9nGr_u1sQxiahIBMwvyTQ7QDric7dCyrx1BPMqC9XoTaYpiE0v7/s400/Screen+Shot+2015-06-16+at+4.49.19+PM.png" title="Elmo Event 2015 Tyler Vlahovich Sharpie on mylar balloon" width="265" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background-color: white; color: #222222; font-size: 12.8000001907349px; text-align: start;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Tyler Vlahovich, <b style="color: #222222;">Elmo Event</b><span style="background-color: white; color: #222222;">, 2015, </span></span><br />
<div style="background-color: white; color: #222222; font-size: 12.8000001907349px; text-align: start;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: 12.8000001907349px; text-align: start;">Elmo balloon, string, and sharpie, </span><span style="background-color: white; color: #222222;">14" x 14" x 6" (not including string)</span></span></div>
</div>
<div style="background-color: white; color: #222222; font-size: 12.8000001907349px; text-align: start;">
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</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8-dYykXsAZDZP7jEx7eWm4H08U90vSIlsB9SjW3NAO1kDL8SvKo8-_5HRLAO7Xfimu8K5bxa8KaCavRruIR8dkrLtYRy4mZuSNNB2SIgMp51FY9xKO9qZt_r53_t2BFmtMjzxMHHgB0pZ/s1600/Screen+Shot+2015-06-16+at+4.50.41+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8-dYykXsAZDZP7jEx7eWm4H08U90vSIlsB9SjW3NAO1kDL8SvKo8-_5HRLAO7Xfimu8K5bxa8KaCavRruIR8dkrLtYRy4mZuSNNB2SIgMp51FY9xKO9qZt_r53_t2BFmtMjzxMHHgB0pZ/s400/Screen+Shot+2015-06-16+at+4.50.41+PM.png" title="Elmo Event 2015 Sharpie on mylar balloon" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background-color: white; color: #222222; font-size: 12.8000001907349px; text-align: start;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Tyler Vlahovich, <b style="color: #222222;">Elmo Event</b><span style="background-color: white; color: #222222;">, 2015, </span></span><br />
<div style="background-color: white; color: #222222; font-size: 12.8000001907349px; text-align: start;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: 12.8000001907349px; text-align: start;">Elmo balloon, string, and sharpie, </span><span style="background-color: white; color: #222222;">14" x 14" x 6" (not including string)</span></span></div>
</div>
<div style="background-color: white; color: #222222; font-size: 12.8000001907349px; text-align: start;">
<br /></div>
</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCYVky_LRyR1vfaJGvffSUTxv49nUwFiFcTTWdwd6whjjtNKrJCgtjIO_c7JfD5GTYqJ0BLvlSBisxtz_9QsAjCv0yV0KX4GtUotKVxHzwAH6wO1qDOc3xBIPmYTxBzYiaScXhIITxaJmB/s1600/Screen+Shot+2015-06-16+at+4.50.29+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCYVky_LRyR1vfaJGvffSUTxv49nUwFiFcTTWdwd6whjjtNKrJCgtjIO_c7JfD5GTYqJ0BLvlSBisxtz_9QsAjCv0yV0KX4GtUotKVxHzwAH6wO1qDOc3xBIPmYTxBzYiaScXhIITxaJmB/s400/Screen+Shot+2015-06-16+at+4.50.29+PM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background-color: white; color: #222222; font-size: 12.8000001907349px; text-align: start;">
<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: 12.8000001907349px;">Tyler Vlahovich, </span><b style="color: #222222; font-size: 12.8000001907349px;">Elmo Event</b><span style="background-color: white; color: #222222; font-size: 12.8000001907349px;">, 2015, </span></span></div>
<div style="background-color: white; color: #222222; font-size: 12.8000001907349px; text-align: start;">
<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: 12.8000001907349px; text-align: start;">Elmo balloon, string, and sharpie, </span><span style="background-color: white; color: #222222; font-size: 12.8000001907349px;">14" x 14" x 6" (not including string)</span></span></div>
</td></tr>
</tbody></table>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtgU7KXaIO3m9ubewvkiZMt_nSecvsRLCz0DRoIf2mk8lwl_sajUR7ZyGer0-kHt1KmboZPtQZ1AqXAgvWnUgaxhlGqZ5Amy25va4XEzrWEqU-u-KQ0HqPcGPALvMLCRaCmmBv2PQfYEuT/s1600/Screen+Shot+2015-06-16+at+4.49.33+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtgU7KXaIO3m9ubewvkiZMt_nSecvsRLCz0DRoIf2mk8lwl_sajUR7ZyGer0-kHt1KmboZPtQZ1AqXAgvWnUgaxhlGqZ5Amy25va4XEzrWEqU-u-KQ0HqPcGPALvMLCRaCmmBv2PQfYEuT/s400/Screen+Shot+2015-06-16+at+4.49.33+PM.png" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">left to right: </span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Rebecca Ripple, <span style="color: #222222;"><b>ar</b>: from Barrel of 'f's, </span><span style="background-color: white; color: #222222;">2015, </span></span><span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: x-small;">stainless steel, rubber, and silicone, </span><span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: x-small;">8" x 5" x 3" (variable)</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Tyler Vlahovich, <b style="color: #222222;">Elmo Event</b><span style="background-color: white; color: #222222;">, 2015, </span><span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: 12.8000001907349px; text-align: start;">Elmo balloon, string, and sharpie, </span><span style="background-color: white; color: #222222;">14" x 14" x 6" (not including string)</span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Michael Minelli, <b style="color: #222222;">sponge (from souvenirs)</b><span style="background-color: white; color: #222222;">, </span><span style="background-color: white; color: #222222;">2007-present, </span><span style="background-color: white; color: #222222;">Sculpey III, </span><span style="background-color: white; color: #222222;">5/8" x 5/8" x 3/8”</span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: 12.8000001907349px;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: 12.8000001907349px;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEscnUzDwyKuljiw1IMp-pG-RRu-SrN9GQdquWNy2deLBU9im4x1DjDVMjYaB3PvyfpC9rQMnFMbJieQHdVI8xAq-csnygLhLpDJvg2ITzvNIsIoTHQHLFpR0pLQYVcEmk-BNzQUJCzzhy/s1600/Screen+Shot+2015-06-16+at+4.48.13+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEscnUzDwyKuljiw1IMp-pG-RRu-SrN9GQdquWNy2deLBU9im4x1DjDVMjYaB3PvyfpC9rQMnFMbJieQHdVI8xAq-csnygLhLpDJvg2ITzvNIsIoTHQHLFpR0pLQYVcEmk-BNzQUJCzzhy/s400/Screen+Shot+2015-06-16+at+4.48.13+PM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="separator" style="clear: both;">
<span style="font-size: x-small;">left to right: </span></div>
<div class="separator" style="clear: both; font-size: medium;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Rebecca Ripple, <span style="color: #222222;"><b>ar</b>: from Barrel of 'f's, </span><span style="background-color: white; color: #222222;">2015, </span></span><span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: x-small;">stainless steel, rubber, and silicone, </span><span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: x-small;">8" x 5" x 3" (variable)</span></div>
<div class="separator" style="clear: both;">
<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: x-small;">Tyler Vlahovich, <b style="color: #222222;">Elmo Event</b><span style="background-color: white; color: #222222;">, 2015, </span><span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: 12.8000001907349px; text-align: start;">Elmo balloon, string, and sharpie, </span><span style="background-color: white; color: #222222;">14" x 14" x 6" (not including string)</span></span></span></div>
<div class="separator" style="clear: both;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Michael Minelli, <b style="color: #222222;">sponge (from souvenirs)</b><span style="background-color: white; color: #222222;">, </span><span style="background-color: white; color: #222222;">2007-present, </span><span style="background-color: white; color: #222222;">Sculpey III, </span><span style="background-color: white; color: #222222;">5/8" x 5/8" x 3/8”</span></span></div>
</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpEfibAm2GrYJSmvP8n4mL-xa2y1vQMF3u0bf72QDqGNDC1IEOkH_91JP4xk07YzJOCGcIICm5T3xZs-shWLRlgZbLJtN5kU6tQMNsyAdtQcZVZ3w-uZYwaV6pZa7Hbd7y5GX0YIFUjz67/s1600/Screen+Shot+2015-06-16+at+4.49.57+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpEfibAm2GrYJSmvP8n4mL-xa2y1vQMF3u0bf72QDqGNDC1IEOkH_91JP4xk07YzJOCGcIICm5T3xZs-shWLRlgZbLJtN5kU6tQMNsyAdtQcZVZ3w-uZYwaV6pZa7Hbd7y5GX0YIFUjz67/s400/Screen+Shot+2015-06-16+at+4.49.57+PM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rebecca Ripple, <span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Rebecca Ripple, <span style="color: #222222;"><b>ar</b>: from Barrel of 'f's, </span><span style="background-color: white; color: #222222;">2015, </span></span><span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: x-small;">stainless steel, rubber, and silicone, </span><span style="background-color: white; color: #222222; font-family: Times, 'Times New Roman', serif; font-size: x-small;">8" x 5" x 3" (variable)</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Ys-enI_w1dNe9Mf3uZivDJRqkKF0hn5P8uGoLs9uDLSKH0-8gR7tLNCTGE9goEptuo-n_VxRqylIOYsmrlkov2P715vnGOrd5pHCe612ER7kDYL2LxotNQqgDGwjNSXQaWF6pL-HzTcn/s1600/Screen+Shot+2015-06-16+at+4.48.33+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Ys-enI_w1dNe9Mf3uZivDJRqkKF0hn5P8uGoLs9uDLSKH0-8gR7tLNCTGE9goEptuo-n_VxRqylIOYsmrlkov2P715vnGOrd5pHCe612ER7kDYL2LxotNQqgDGwjNSXQaWF6pL-HzTcn/s400/Screen+Shot+2015-06-16+at+4.48.33+PM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, Times New Roman, serif;">Michael Minelli, <span style="font-size: x-small;">Michael Minelli, </span><b style="color: #222222; font-size: 12.8000001907349px;">sponge (from souvenirs)</b><span style="background-color: white; color: #222222; font-size: 12.8000001907349px;">, </span><span style="background-color: white; color: #222222; font-size: 12.8000001907349px;">2007-present, </span><span style="background-color: white; color: #222222; font-size: 12.8000001907349px;">Sculpey III, </span><span style="background-color: white; color: #222222; font-size: 12.8000001907349px;">5/8" x 5/8" x 3/8”</span></span></td></tr>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-59327278627730120182014-07-16T18:07:00.001-07:002015-06-16T18:08:33.726-07:00danach draußen (thereafter outside)<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">danach
draußen refers to a stage after the event already happened (danach),
and to those who remained outside (draußen).
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Two
of Jan Stieding's four paintings show deserted stages, the other two
show figures that were taken from Eastern German socialist propaganda
posters, promoting the heroes of labor. Staged in the 1970s the heroes
look considerably different from the enthusiastic and proud
depictions we know from earlier years. They look forlorn as they
engage in undefined activities. Translating the method of
photographic collage to painting, Stieding took them out of their
context and inserted them into his own world.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="color: #783f04;">Jan
Stieding was born in 1966 in Bad Langensalzen/Thüringen in Germany.
He lives and works in Düsseldorf. </span><span style="color: #783f04;">He
studied from 1991 – 94 at the HDK in Dresden and at the
Kunstakademie in Düsseldorf. In his paintings and works on paper
Stieding engages with biographical recollections and universal, mostly
ambivalent topics. Melancholy and ease, beauty and tragedy,
loneliness and togetherness describe a tightrope walk between the
pursuit of happiness and the collapse of utopias and ideals and their
protagonists. He showed his work in numerous solo and group
exhibitions.</span></span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><a href="http://www./" target="_blank">www.</a><a href="http://janstieding.de/" target="_blank">janstieding.de</a></span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 100%;">In
the past two years Jörg Wagner has been interested in the geographic
and spatial manifestations of fences and their social implications.
Surveying boundaries like the fence in Belfast that protects people
on either side from projectiles and explosives, the anti-immigration
fence between the US border and Mexico, the ubiquitous standard Euro
fence and the chain link fences that are used around private
properties, Wagner noticed an increasing demand for fences in our
increasingly global culture. Wagner creates photosensitive cyanotype
copies of fences in a scale of 1:1. He burns traces of the actual
objects onto paper.</span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Born
1967 in Waiblingen, Germany, Jörg Wagner studiert sculpture at the
Kunstakademie Düsseldorf. As an artist and a lecturer he lives in
Cologne. Most of his work is developed at specific locations. He
visited Japan, the USA, Australia and Ireland to produce his
installations. He showed his work in numerous solo and group
exhibitions.</span></div>
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<span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><a href="https://www.blogger.com/goog_767934088"><br /></a></span></div>
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<span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 16px;"><a href="http://joergwagner.info/">http://joergwagner.info/</a></span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">With
their curatorial project 'die Beton Bar', Jan Stieding and Jörg
Wagner were the main inspiration for the inception of LAMOA. At the
end of my search for a suitable location to host 'die Beton Bar' I
decided to build a museum to be able to organize art projects. I'm
proud to say that after three years the exhibition is finally
happening. In collaboration with Jan Stieding and Jörg Wagner we
built a concrete bar that will be activated during the opening.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="color: #783f04;"><br /></span>
<span style="color: #783f04;"><a href="http://betonbar.blogspot.com/">http://betonbar.blogspot.com/</a></span></span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 100%;">In
conjunction with the exhibition we will also host an editions and
publications fair.</span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The
participating artists and publishers will be:</span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Commonwealth
and Council</span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">DTW>LAX.
LAX>DTW</span></div>
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<span style="background-color: white; color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">ERIC GERO / Editions</span><br />
<span style="background-color: white; color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Paul Gellman</span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Holoholo
books, Comment Section #2</span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">LAMOA
book store</span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Molly
Larkey</span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The
Pit
</span><br />
<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Prism of Reality</span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Statler
Waldorf Gallery</span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Irene
Tsatsos</span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">and
others</span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The
fair will open at 3:30PM, the event will go until 10PM</span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Opening
reception from 5-10PM</span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The
exhibition will be on view until the 10th of May</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVBppJ5njozfBXynz9rROh_FlHrDGiT35tklbKJ0_htssCr9EJn6_DWRfSQYeihzxukyqbchvYA2ImR0QQKA-fMBE75oTATKtRU5CjR6-a9LoaNOB3Nk0Ti9Kcn5N_aMrA_BPaFz9WLaP-/s1600/IMG_3169.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVBppJ5njozfBXynz9rROh_FlHrDGiT35tklbKJ0_htssCr9EJn6_DWRfSQYeihzxukyqbchvYA2ImR0QQKA-fMBE75oTATKtRU5CjR6-a9LoaNOB3Nk0Ti9Kcn5N_aMrA_BPaFz9WLaP-/s400/IMG_3169.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Beton Bar (concrete bar)</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiePXAubFAhCR63dpoGUVDlx8895mr5yeswlLwPwmSku4WSqxCmLweXwGHQabr_dhKUm7Drk8sK7KCOXjMltYmyuxdxNOnOt1Ik7JvQU05FiJAmoyaQKN_y-LIW5TryKfSjVJsaZydiPha1/s1600/IMG_3155.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiePXAubFAhCR63dpoGUVDlx8895mr5yeswlLwPwmSku4WSqxCmLweXwGHQabr_dhKUm7Drk8sK7KCOXjMltYmyuxdxNOnOt1Ik7JvQU05FiJAmoyaQKN_y-LIW5TryKfSjVJsaZydiPha1/s400/IMG_3155.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Beton Bar (concrete bar)</span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Beton Bar is a project by Jan Steiding and Jörg Wagner</span><br />
<span style="background-color: white; color: #222222; text-align: start;"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;"> Beton Bar, 2015, concrete, plaster, metal, and matte board was made for the exhibition "danach draußen" by Jan Stieding and Jörg Wagner in collaboration with Alice Könitz</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8xHrsgj4kK0XXrdI4j5zYTJ6tcGPuP7YpBM73Ng66xoWj213QOKSJlyjO4qzubQ3Yve1MIWvyilH5dl-rvz4l7by5_FJHmGVWXREivtT4UYgAJsUoJ5OUjZoG4vH_LRX5pfHX8SqBxOwd/s1600/IMG_3157.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8xHrsgj4kK0XXrdI4j5zYTJ6tcGPuP7YpBM73Ng66xoWj213QOKSJlyjO4qzubQ3Yve1MIWvyilH5dl-rvz4l7by5_FJHmGVWXREivtT4UYgAJsUoJ5OUjZoG4vH_LRX5pfHX8SqBxOwd/s400/IMG_3157.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: 12.8000001907349px;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Beton Bar (concrete bar)</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Beton Bar is a project by Jan Steiding and Jörg Wagner</span></div>
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<span style="background-color: white; color: #222222; text-align: start;"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;"> Beton Bar, 2015, concrete, plaster, metal, and matte board was made for the exhibition "danach draußen" by Jan Stieding and Jörg Wagner in collaboration with Alice Könitz</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT-iFlcvQqOuavWOpkX0sVjJlc0UNTbgE9H4876cuW-SDMBe8p2NAev7PrhSVDcLbCiDpDg6Lu9jPY9YO5AKWm1qWl_HdwEWniQHeKL_3z-iNC8OLlk6tWY2zhb3sQK4Ul6VSTIHHMwURx/s1600/IMG_3164_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT-iFlcvQqOuavWOpkX0sVjJlc0UNTbgE9H4876cuW-SDMBe8p2NAev7PrhSVDcLbCiDpDg6Lu9jPY9YO5AKWm1qWl_HdwEWniQHeKL_3z-iNC8OLlk6tWY2zhb3sQK4Ul6VSTIHHMwURx/s400/IMG_3164_2.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Paintings by Jan Stieding<br />
<span style="font-family: Times, Times New Roman, serif;">clockwise starting above left: <span style="background-color: white; color: #222222; font-size: 12.8000001907349px; text-align: start;">" danach", </span><span style="background-color: white; color: #222222; font-size: 12.8000001907349px; text-align: start;"> untitled (draußen), </span><span style="background-color: white; color: #222222; font-size: 12.8000001907349px; text-align: start;">"nacht", </span><span style="color: #222222; font-size: 12.8000001907349px; text-align: start;">untitled, </span><span style="color: #222222; font-size: 12.8000001907349px; text-align: start;"></span><span style="color: #222222; font-size: 12.8000001907349px; text-align: start;">(draußen2)</span></span><br />
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<span style="font-family: Times, Times New Roman, serif;">2015, oil on canvas 28 x 38 in</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZq77ySWoThMMg-wVdCHi0g2p68Fzno38pLg2xg85BGXzKIy5Zm99mtWCk8RMPZQMwwoZjzedMywh-OEP4lBLLFYP-OtZ2azGK9WHVVixol1wjvq-iFI9cyM1nBJxKwPBopmQqEehtnaOU/s1600/IMG_3167_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZq77ySWoThMMg-wVdCHi0g2p68Fzno38pLg2xg85BGXzKIy5Zm99mtWCk8RMPZQMwwoZjzedMywh-OEP4lBLLFYP-OtZ2azGK9WHVVixol1wjvq-iFI9cyM1nBJxKwPBopmQqEehtnaOU/s400/IMG_3167_2.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fence installation by Jörg Wagner<br />
untitled, 2015, blueprint on paper, size variable</td></tr>
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-25108183453692246632014-07-16T18:04:00.001-07:002015-05-06T19:33:49.565-07:00LAMOA at The Fifth Wall at the Armory Center for the Arts <h3>
<span style="background-color: white; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #783f04; font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 15.960000038147px;">The Fifth Wall: On view from 07.13.14 to 12.14.14 The Fifth Wall: Tom </span></span></span></h3>
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<span style="background-color: white; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #783f04; font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 15.960000038146973px;">Friedman, Evan Holloway, Farrah Karapetian, Alice Könitz, Marco Rios, </span></span></span></h3>
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<span style="background-color: white; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #783f04; font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 15.960000038147px;">Corinna Schnitt, Artur Żmijewski</span></span></span></h3>
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LAMOA performance by West Coast New Energy Encounter Group</span></span></h3>
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<em style="background-color: white; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #783f04;"><fb:like class=" fb_iframe_widget" fb-iframe-plugin-query="app_id=280328495315667&container_width=0&font=arial&href=http%3A%2F%2Fwww.armoryarts.org%2Fvisit%2F2014-events%2Flamoa-performance-by-west-coast-new-energy-encounter-group%2F&layout=button_count&locale=en_US&sdk=joey&send=false&show_faces=false&width=0" fb-xfbml-state="rendered" font="arial" href="http://www.armoryarts.org/visit/2014-events/lamoa-performance-by-west-coast-new-energy-encounter-group/" layout="button_count" send="false" show_faces="false" style="display: inline-block; font-size: 14.0013999938965px; position: relative;" width="0"><span style="border: 0px; display: inline-block; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: 20px; line-height: inherit; margin: 0px; padding: 0px; position: relative; text-align: justify; vertical-align: bottom; width: 77px;"><iframe allowtransparency="true" class="" frameborder="0" height="1000px" name="f35b566c7c" scrolling="no" src="http://www.facebook.com/plugins/like.php?app_id=280328495315667&channel=http%3A%2F%2Fstatic.ak.facebook.com%2Fconnect%2Fxd_arbiter%2F6Dg4oLkBbYq.js%3Fversion%3D41%23cb%3Df176abf468%26domain%3Dwww.armoryarts.org%26origin%3Dhttp%253A%252F%252Fwww.armoryarts.org%252Ff2916332dc%26relation%3Dparent.parent&container_width=0&font=arial&href=http%3A%2F%2Fwww.armoryarts.org%2Fvisit%2F2014-events%2Flamoa-performance-by-west-coast-new-energy-encounter-group%2F&layout=button_count&locale=en_US&sdk=joey&send=false&show_faces=false&width=0" style="border-style: none; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: 20px; line-height: inherit; margin: 0px; padding: 0px; position: absolute; vertical-align: baseline; visibility: visible; width: 77px;" title="fb:like Facebook Social Plugin" width="1000px"></iframe></span></fb:like></span></em></div>
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<span style="background-color: white; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #783f04;"><span style="font-family: inherit;"><span style="border-color: initial; border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border-width: initial; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit;"><img alt=" LAMOA performance by West Coast New Energy Encounter Group" src="http://www.armoryarts.org/assets/Events/lamoaperL.jpg" height="160" style="border: none; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: top;" width="400" /></span></span></span></span></div>
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<span style="background-color: white; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #783f04;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Activating <a href="http://www.armoryarts.org/about-us/news/los-angeles-museum-of-art-the-armory/" style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">LAMOA</a> and <a href="http://www.armoryarts.org/exhibitions/2014/torbjoern-vejvi-standing-in-one-space-looking-into-another/" style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Torbjorn Vejvi</a>'s sculptures contained within through sound, dialogue, and silence, the <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0CB4QtwIwAA&url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D7XDdmYOFnkw&ei=OW9_VIjbMpWoyATIjYD4Bg&usg=AFQjCNHHlR9snRxOUJB-nwEYNiNMPu7czw" style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">West Coast New Energy Encounter Group</a> presents a new performance work. Inspired by August Strindberg's "Dance of Death," the Los Angeles based performance troupe energizes the space through their inimitable use of expressive costuming and powerful musicianship.</span></span></span></div>
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<span style="background-color: white; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #783f04;"><strong style="border: 0px; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Time: </span></strong></span></span><br />
<span style="background-color: white; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #783f04;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Saturday, December 13, 2014</span></span></span><br />
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<span style="background-color: white; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #783f04;"><strong style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Location: </span></strong></span></span><br />
<span style="background-color: white; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #783f04;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Armory Center for the Arts</span></span></span><br />
<span style="background-color: white; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #783f04;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">145 N. Raymond Ave., Pasadena, CA 91103</span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">Alice Könitz’s </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">Los Angeles Museum of Art (LAMOA), </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">featured in the exhibition </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">The Fifth Wall</span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;"> </span></span><span style="background-color: transparent; font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 1.38; white-space: pre-wrap;">at Armory Center for the Arts.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"><em style="border: 0px; line-height: normal; margin: 0px; padding: 0px; vertical-align: baseline; white-space: normal;"><span id="docs-internal-guid-d34746b4-1a16-9ecc-9efb-d0fdec267261"></span></em></span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">For Immediate Release: October 9, 2014</span></span></div>
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<span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Contact: Jon Lapointe, Communications Director</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">(626) 792-5101 x 143 | jlapointe@armoryarts.org |</span><a href="http://www.armoryarts.org/" style="text-decoration: none;"><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"> www.armoryarts.org</span></a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">Exhibition: </span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="vertical-align: baseline; white-space: pre-wrap;">Torbjörn Vej</span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">vi: </span><span style="vertical-align: baseline; white-space: pre-wrap;">Standing in one space looking into another</span><span style="font-weight: bold; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></span></div>
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<span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">at the Los Angeles Museum of Art (LAMOA),</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">currently on display in the exhibition </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">The Fifth Wall</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></span></div>
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<span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">at Armory Center for the Arts</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">Dates: </span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">Sunday, November 2 – Sunday, December 14, 2014</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">Opening Reception: </span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">Saturday, November 1, 6–8 pm</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">Location: </span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">Caldwell Gallery, Armory Center for the Arts</span></span></div>
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<span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><img alt="TorbjornL.jpg" height="201px;" src="https://lh3.googleusercontent.com/2qy55oI3UT8hhzc8FmRYTVlVET1MxxHDrJr44bcuzlKYbd4bY35h8s_Bjz6dVDuVhERz4BGcY8JPt3Jh6PJddE3mlre1SWadYvTFVdULi1vwIVoJJibiQG1yNwTkTII2JXIpUgw" style="-webkit-transform: rotate(0.00rad); border: none; transform: rotate(0.00rad);" width="501px;" /></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">Pasadena, CA</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"> – The Armory Center for the Arts is pleased to present </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">Standing in one space looking into another </span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">by </span><span style="font-style: normal; vertical-align: baseline; white-space: pre-wrap;">Torbjörn Vej</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">vi as part of the continuing independent programming of the </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">Los Angeles Museum of Art (LAMOA)</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">, currently on display in the exhibition </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">The Fifth Wall: Tom Friedman, Evan Holloway, Farrah Karapetian, </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">Alice Könitz, Marco Rios,</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">Corinna Schnitt, </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">Artur Żmijewski.</span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">Vejvi’s installation draws from personal memories of uncanny moments in time and is on display from Sunday, November 2 through Sunday, December 14, 2014. An opening reception will take place on Saturday, November 1, from 6–8 pm.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">Standing in one space looking into another</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"> is a series of handmade painted sculptures inspired by Vejvi’s childhood reflections. The installation inside LAMOA attempts to control and minimize the chaos of memory and emotion, </span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">sparse and scattered when interpreted from an adult perspective</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">, through a balance of abstraction and realness. Vejvi represents fragmented narratives such as that of a grown man living in his parent’s attic, unable to interact with passersby below, to another of a cryptic castle turned museum where rooms were staged to show the former splendor of past inhabitants. These scenarios are portrayed through playful, mysterious depictions that are personal, social, and psychological in nature. It is through these recollections that Vejvi simulates the unstable yet fluid negotiations between past experience and memory.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="font-style: normal; font-weight: bold; vertical-align: baseline; white-space: pre-wrap;">Torbjörn Vej</span><span style="background-color: transparent; font-style: normal; font-weight: bold; vertical-align: baseline; white-space: pre-wrap;">vi</span><span style="font-style: normal; font-weight: bold; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="font-style: normal; vertical-align: baseline; white-space: pre-wrap;">was born in </span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">Vätjö, Sweden, and currently lives and works in Los Angeles. He received his MFA from </span><span style="font-style: normal; vertical-align: baseline; white-space: pre-wrap;">Malmö Academy of Fine Arts in Sweden and the University of California, Los Angeles in 1998. Recent exhibitions include </span><span style="vertical-align: baseline; white-space: pre-wrap;">The object without is the object within</span><span style="font-style: normal; vertical-align: baseline; white-space: pre-wrap;">, Glendale Community College Art Gallery, Glendale, CA; </span><span style="vertical-align: baseline; white-space: pre-wrap;">Prince at the Forum</span><span style="font-style: normal; vertical-align: baseline; white-space: pre-wrap;">, Beacon Arts Building and </span><span style="vertical-align: baseline; white-space: pre-wrap;">Group Show</span><span style="font-style: normal; vertical-align: baseline; white-space: pre-wrap;">, Las Cienegas Projects, both in Los Angeles; and </span><span style="vertical-align: baseline; white-space: pre-wrap;">Bullet Train,</span><span style="font-style: normal; vertical-align: baseline; white-space: pre-wrap;"> The Luggage Store, San Francisco.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: transparent; font-style: normal; font-weight: bold; vertical-align: baseline; white-space: pre-wrap;">About </span><span style="background-color: transparent; font-weight: bold; vertical-align: baseline; white-space: pre-wrap;">Los Angeles Museum of Art (LAMOA)</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">Alice Könitz’s </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">Los Angeles Museum of Art (LAMOA),</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"> a c. 13’ x 10’ x 10’ outdoor sculpture that also functions as a museum, was moved from the driveway of her Eagle Rock, Los Angeles studio and re-installed in the Armory’s Caldwell Gallery, where it provides a literal and metaphorical platform for exhibitions and performances being staged during the run of the exhibition, </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">The Fifth Wall</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">. A sculpture as well as a museum, </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">LAMOA</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"> features its own independent programming, including past performances by </span><span style="font-style: normal; vertical-align: baseline; white-space: pre-wrap;">Kelly Coats and Kathleen Kim of SheKhan</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">, a residency with and exhibition of videos by Skip Arnold entitled </span><span style="vertical-align: baseline; white-space: pre-wrap;">“Skip Arnold China” and other ephemera…,</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"> and an exhibition of Olivia Booth’s </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">Glass Pavilion Piece</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">. </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: transparent; font-style: normal; font-weight: bold; vertical-align: baseline; white-space: pre-wrap;">About</span><span style="background-color: transparent; font-weight: bold; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; font-style: normal; font-weight: bold; vertical-align: baseline; white-space: pre-wrap;">the </span><span style="background-color: transparent; font-weight: bold; vertical-align: baseline; white-space: pre-wrap;">The Fifth Wall</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">The exhibition</span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;"> The Fifth Wall</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"> consists of works on paper, sculpture, painting, video, and photography by Tom Friedman, Evan Holloway, Farrah Karapetian, Alice Könitz, Marco Rios, Corinna Schnitt, and Artur Żmijewski, artists from Los Angeles, rural Connecticut, Warsaw, and Berlin. Each has created works that take into consideration alternate, or “wrong” points of view or perspectives. Drawing from Brecht’s theatrical practice, the show invites critical self-reflectivity in the viewer with works that “show what is shown in the showing,” to borrow Brecht’s phrasing. Viewers are made aware of ideas of labor, point of view, and architectural and social constructs that affect their perception of a piece of work. This show seeks to de-familiarize viewers with their own experience of art and to produce a feeling of strangeness toward what would otherwise have been considered only in a canonical context. Brecht’s word for this was the </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">Verfremdungseffekt</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">, or “alienation effect” which, when applied to art, can offer new content in even the most familiar contexts. Just as Brecht wanted his audience to remain aware of the falsity of the spectacle, </span><span style="background-color: transparent; vertical-align: baseline; white-space: pre-wrap;">The Fifth Wall</span><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"> seeks to remind the viewer of the fallacy of point of view. It provides familiarity of subject matter with an estrangement to the object’s original context.</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-weight: bold; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">About the Armory</span></span></div>
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<span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Armory Center for the Arts, in Pasadena, CA, believes that an understanding and appreciation of the arts is essential for a well-rounded human experience and a healthy civic community. Founded in 1989, the Armory builds on the power of art to transform lives and communities through presenting, creating, teaching, and discussing contemporary visual art. The organization’s department of exhibitions mounts over 25 visual arts exhibitions each year at its main facility and in locations throughout the City of Pasadena. In addition, the Armory offers studio art classes and a variety of educational outreach programs to more than fifty schools and community sites.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">Parking is available on the street or in the Marriott garage directly north of the Armory for free for 90 minutes. The Armory is off the Gold Line at Memorial Park – walk one half block east to Raymond and one half block north to the Armory. For more information please visit</span><a href="http://www.armoryarts.org/" style="line-height: 1.38; text-decoration: none;"><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;"> www.armoryarts.org</span></a><span style="background-color: transparent; font-style: normal; vertical-align: baseline; white-space: pre-wrap;">.</span></span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; text-align: center;">Olivia Booth: Glass Pavilion Piece (Accardi Piece,
Copper Piece, Dad Piece, Sand Piece, Ivy Piece, Lamoa Piece, Taut
Piece, Jawlensky Piece, Glint Piece, Studio Piece, Citi Piece…) </span></h3>
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<span style="color: #783f04;"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Glass Pavilion Piece (Accardi Piece,
Copper Piece, Dad Piece, Sand Piece, Ivy Piece, Lamoa Piece, Taut
Piece, Jawlensky Piece, Glint Piece, Studio Piece, Citi Piece…) </i>is
an homage to the pavilion as exalted shed. </span><span style="font-family: Arial, Helvetica, sans-serif;">The pieces that comprise the
installation are a kind of retrospective of my glass centric
interests, as reflected in the title. As a group they aim to create a
high-strung, exalted space that is neither illusionistic nor literal. </span><span style="font-family: Arial, Helvetica, sans-serif;">The painted reflections on the glass
pieces will mingle with the glass’s inherent reflectivity and
combine highlights from sites elsewhere, far away, long gone, present
and imagined. </span><span style="font-family: Arial, Helvetica, sans-serif;">The pavilion’s openings will be
partially blocked by horizontal bands of glass, as if window were
becoming vessel but never arriving, and instead were remaining in the
in-between state of the wrapped plane. These wrapped planes
horizontally mingle with wands and bows meant for optically playing
the pieces. The other openings leave space for the much needed
glass-less architectural moment, they’re the space of window
differed.</span></span></div>
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<span style="color: #783f04;"><span style="font-family: Arial, Helvetica, sans-serif;">I often think of glass– our partner
in shared fragility for the past thousands of years– as the
stranger among us, and so I aim to defamiliarize us to its
perpetually limp role in the built world so that it might be seen
instead in all its dimensional weirdness, and so that its tension
might speak to our body and nerves, and perhaps above all so that,
rather than bring the sense of </span><i style="font-family: Arial, Helvetica, sans-serif;">outward</i><span style="font-family: Arial, Helvetica, sans-serif;"> extension that it so
often comes with when used as window, it might be used as a means of
</span><i style="font-family: Arial, Helvetica, sans-serif;">inward </i><span style="font-family: Arial, Helvetica, sans-serif;">extension; as window turned lens.</span></span><br />
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">LAMOA at the Armory Center for the Arts, 145 N. Raymond Avenue, Pasadena, CA91103</span><br />
<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Exhibition Dates: 9.6.2014 - 10.26.2014</span></div>
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<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Opening reception: 9.6.2014</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background-color: white; color: #783f04;">6-8PM</span></span><br />
<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">(626) 792-5101</span></div>
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<span style="color: #783f04;"><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 15.960000038146973px;">Skip Arnold</span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 15.960000038146973px;">July 19 – July 27, 2014</span></span><br />
<span style="background-color: white; color: #783f04; font-family: Arial, Helvetica, sans-serif; line-height: 15.960000038146973px;">Closing Reception: Sunday, July 27, 3 - 5 pm</span><br />
<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 15.960000038146973px;">During his weeklong residency in </span><em style="background-color: white; border: 0px; line-height: 15.960000038147px; margin: 0px; padding: 0px; vertical-align: baseline;">LAMOA</em><span style="background-color: white; line-height: 15.960000038146973px;">, artist Skip Arnold will present his recently completed travel film </span><em style="background-color: white; border: 0px; line-height: 15.960000038147px; margin: 0px; padding: 0px; vertical-align: baseline;">Skip Arnold China</em><span style="background-color: white; line-height: 15.960000038146973px;">, as well as video films from his archives, which include: </span><em style="background-color: white; border: 0px; line-height: 15.960000038147px; margin: 0px; padding: 0px; vertical-align: baseline;">Video films 2002-2004</em><span style="background-color: white; line-height: 15.960000038146973px;">, </span><em style="background-color: white; border: 0px; line-height: 15.960000038147px; margin: 0px; padding: 0px; vertical-align: baseline;">Girls in Bikinies</em><span style="background-color: white; line-height: 15.960000038146973px;">, </span><em style="background-color: white; border: 0px; line-height: 15.960000038147px; margin: 0px; padding: 0px; vertical-align: baseline;">Hot head Babie</em><span style="background-color: white; line-height: 15.960000038146973px;">, as well as </span><em style="background-color: white; border: 0px; line-height: 15.960000038147px; margin: 0px; padding: 0px; vertical-align: baseline;">Excerpts from the Paris Sessions (2006-2007).</em><span style="background-color: white; line-height: 15.960000038146973px;"> Skip will be present during gallery hours to guide viewers through the exhibition.</span></span><br />
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<span style="color: #783f04;"><em style="background-color: white; border: 0px; line-height: 15.960000038147px; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: Arial, Helvetica, sans-serif;">Get Back</span></em><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 15.960000038146973px;">Musical performance by Kelly Coats and Kathleen Kim of SheKhan</span></span></h4>
<span style="background-color: white; color: #783f04; font-family: Arial, Helvetica, sans-serif; line-height: 15.960000038146973px;">Saturday, July 12, 2014 7:30 pm</span><br />
<span style="color: #783f04; font-family: Arial, Helvetica, sans-serif;"><em style="background-color: white; border: 0px; line-height: 15.960000038147px; margin: 0px; padding: 0px; vertical-align: baseline;">Get Back</em><span style="background-color: white; line-height: 15.960000038146973px;"> is a 30-minute experiment in the oscillation of structure and improvisation, harmony and dissonance. Electronic bass lines and beats, interlocked with tactile loops of violin riffs and vocal noise, set the stage for improvisation. Language, introduced as a recognizable form, later dissolves into an eerie cacophony, and ultimately serves as the glue that holds everything together. </span><em style="background-color: white; border: 0px; line-height: 15.960000038147px; margin: 0px; padding: 0px; vertical-align: baseline;">Get Back</em><span style="background-color: white; line-height: 15.960000038146973px;"> is about shifting from center, getting disoriented, and creating a new path.</span></span><br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-9289956211898325262014-07-16T18:03:00.002-07:002014-07-16T22:54:55.832-07:00LAMOA at Made in LA at the UCLA Hammer Museum on view until September 7<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijN2jVvfibrFjTlNfYtHJQ1VTLqiZrQkBwhNpSZdqmp50jIhDUIwM1hVOiNpomDcHDmRBcATAXKXZZvQAH73qzu1Zrjp61-lhzxkWVcr-Vtz3Svjsfc66PqqRlSNOB7KqrZ25shlBt8kJo/s1600/Screen+Shot+2014-07-16+at+5.50.20+PM.TIF" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijN2jVvfibrFjTlNfYtHJQ1VTLqiZrQkBwhNpSZdqmp50jIhDUIwM1hVOiNpomDcHDmRBcATAXKXZZvQAH73qzu1Zrjp61-lhzxkWVcr-Vtz3Svjsfc66PqqRlSNOB7KqrZ25shlBt8kJo/s1600/Screen+Shot+2014-07-16+at+5.50.20+PM.TIF" height="265" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">From left to right: Display System #1(Personal Collection)<br />Taft Green: untitled, Peter Kim:
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<span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">untitled (Pregognitive Painting #1), Peter Könitz: Dann wurde es wieder still (Then It Became Quiet Again),<br />
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<span style="color: #222222;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Display System#2</span></span><br />
<span style="color: #222222;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Daniel Mendel-Black: Day at the Beach, Gunter Lorenz: Sänger (Singer), </span></span><br />
<span style="color: #222222;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Display System #3</span></span><br />
<span style="color: #222222;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Margaret Honda: Constructivist Bozzetto,</span></span><br />
<span style="color: #222222;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">David Hughes: BBQ Hut, Daniel Knorr: Scherben bringen Glück (Break a Thing Mend Your Luck)</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwvxYboMwQyi3bXZnKO_a66fWsrTTqMgRPqCbVWf2Ftb7jiiRzLsYYzhj25h1yU70NMfqbvViRWN7VmFqzOp9nd3UrAAN5KZd7t0oZoyJI4lN7i_-6Q4ZdDvgHKN-Gs5sS5DzYgLSNkxht/s1600/Screen+Shot+2014-07-16+at+5.50.41+PM.TIF" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwvxYboMwQyi3bXZnKO_a66fWsrTTqMgRPqCbVWf2Ftb7jiiRzLsYYzhj25h1yU70NMfqbvViRWN7VmFqzOp9nd3UrAAN5KZd7t0oZoyJI4lN7i_-6Q4ZdDvgHKN-Gs5sS5DzYgLSNkxht/s1600/Screen+Shot+2014-07-16+at+5.50.41+PM.TIF" height="225" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">From left to right: Display System #1(Personal Collection) </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;"><span style="color: #222222;">Peter Könitz: Dann wurde es wieder still (Then it became quiet again), fluorescent light,<br />Stephanie Taylor: Prawns, Tony Conrad: untitled (film), maple leaf gold coin from Carl Andre</span></span><br />
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<span style="color: #222222;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Display System#2</span></span><br />
<span style="color: #222222;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Daniel Mendel-Black: Day at the Beach, Gunter Lorenz: Sänger (Singer), </span></span><br />
<span style="color: #222222;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Display System #3</span></span><br />
<span style="color: #222222;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Margaret Honda: Constructivist Bozzetto,</span></span><br />
<span style="color: #222222;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">David Hughes: BBQ Hut, Daniel Knorr: Scherben bringen Glück (Break a Thing Mend Your Luck)</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="color: #222222;"><br /><br /> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCXnIgg_RKFhAFf_1xlaeHj32VIo3MN1PrKGUZk-UlFxBg2loA1tG1SA5xMucgFVKBYW3kgJ7z9jprxjcsiH-EfbWeHvQof1MBnbtJNxj1091h3QGXEUdfOKlbyq94KfpKSAc2L-axE9pz/s1600/Screen+Shot+2014-07-16+at+5.52.27+PM.TIF" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCXnIgg_RKFhAFf_1xlaeHj32VIo3MN1PrKGUZk-UlFxBg2loA1tG1SA5xMucgFVKBYW3kgJ7z9jprxjcsiH-EfbWeHvQof1MBnbtJNxj1091h3QGXEUdfOKlbyq94KfpKSAc2L-axE9pz/s1600/Screen+Shot+2014-07-16+at+5.52.27+PM.TIF" height="287" width="400" /></a></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">From left to right: <span style="color: #222222;">Display System#2<br />Sonia Leimer: Platzhalter (Place holder), </span><span style="color: #222222;">Daniel Mendel-Black: Day At The Beach, Monika Baer: untitled, Gunter Lorenz: Sänger (Singer)</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Display System #1(Personal Collection)</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;"><span style="color: #222222;">fluorescent light, </span>Taft Green: untitled, <span style="color: #222222;">Stephanie Taylor: Prawns, Tony Conrad: untitled (film), maple leaf gold coin from Carl Andre, </span>Peter Kim: <span style="color: #222222;">untitled (Pregognitive Painting #1), Pamela Jorden: untitled</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqFFxVo72Adqqi_n1b6ORaFLoQomXmblW_Wc62MhDpnMDS9tEd0LD3JyRW8GnJa2OOzEMued0kIb6-0vRTrliAmQN2a__f6aiXPV4VZDHj0vFlGYri-cxhoTA1E6WAF6rJqx5J4y6YYXMm/s1600/Screen+Shot+2014-07-16+at+5.52.54+PM.TIF" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqFFxVo72Adqqi_n1b6ORaFLoQomXmblW_Wc62MhDpnMDS9tEd0LD3JyRW8GnJa2OOzEMued0kIb6-0vRTrliAmQN2a__f6aiXPV4VZDHj0vFlGYri-cxhoTA1E6WAF6rJqx5J4y6YYXMm/s1600/Screen+Shot+2014-07-16+at+5.52.54+PM.TIF" height="233" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">From left to right: Display System #1(Personal Collection)</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;"><span style="color: #222222;">Peter Könitz: Dann wurde es wieder still (Then it became quiet again), </span>Taft Green: untitled, fluorescent light, </span><br />
<span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Stephanie Taylor: Prawns, Tony Conrad: untitled (film), maple leaf gold coin from Carl Andre</span><br />
<span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Display System#3</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;"><span style="color: #222222;">David Hughes: BBQ Hut, </span><span style="color: #222222;">Margaret Honda: Constructivist Bozzetto, </span><span style="color: #222222;">Daniel Knorr: Scherben bringen Glück (Break a Thing Mend Your Luck)</span></span><br />
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<span style="color: #222222;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7mg-y-8lMp2ZbFBdhCAxjKMD4qysXdlOR1bEua_R-s60-nlizecpN126KY6CrzIBn4aweOEhKGTaxLltf8ATSHg8ssovbror_NuM06UtMOz-0mgYqwdSg5UxrjuO0e2CR5fiEYFgITAdV/s1600/Screen+Shot+2014-07-16+at+5.53.19+PM.TIF" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7mg-y-8lMp2ZbFBdhCAxjKMD4qysXdlOR1bEua_R-s60-nlizecpN126KY6CrzIBn4aweOEhKGTaxLltf8ATSHg8ssovbror_NuM06UtMOz-0mgYqwdSg5UxrjuO0e2CR5fiEYFgITAdV/s1600/Screen+Shot+2014-07-16+at+5.53.19+PM.TIF" height="281" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Display System#2<br />From left to right: Judith Hopf: Smaller Mask, Judith Hopf: untitled.<br />Matthew Waller: Peel</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUQnFun-Gp9PARnW8sRuKt7vuIAxI__QoLn_VktydMKzxj0tGinLdn5J6SVBKib9LVxG9nSHw05E108x93oVr6Gw5o_MwUKKRfLM4caLXdZxciTZiR7VJOx8lAXmb78ww-ySA2qVf-VX6Z/s1600/Screen+Shot+2014-07-16+at+5.53.40+PM.TIF" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUQnFun-Gp9PARnW8sRuKt7vuIAxI__QoLn_VktydMKzxj0tGinLdn5J6SVBKib9LVxG9nSHw05E108x93oVr6Gw5o_MwUKKRfLM4caLXdZxciTZiR7VJOx8lAXmb78ww-ySA2qVf-VX6Z/s1600/Screen+Shot+2014-07-16+at+5.53.40+PM.TIF" height="273" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">From left to right: <span style="color: #222222;">Display System#3</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;"><span style="color: #222222;"> </span><span style="color: #222222;">Margaret Honda: Constructivist Bozzetto, </span><span style="color: #222222;">David Hughes: BBQ Hut,</span><span style="color: #222222;"> </span><span style="color: #222222;">Daniel Knorr: Scherben bringen Glück (Break a Thing Mend Your Luck)</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;"> Display System #1(Personal Collection)</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;"><span style="color: #222222;">Tony Conrad: untitled (film), maple leaf gold coin from Carl Andre, </span><span style="color: #222222;">Stephanie Taylor: Prawns, </span><span style="color: #222222;">Pamela Jorden: untitled, </span><span style="color: #222222;">Zachary Stadel</span><span style="color: #222222;">:</span><span style="color: #222222;"> </span><span style="color: #222222;">Stratoglinate for Alice</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">fluorescent light, Violet Hopkins: untitled</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: xx-small;"><span style="color: #222222;"> </span>Taft Green: untitled </span><span style="font-size: x-small;"> </span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqHgY8gVfRRu1eUWzUryLkh4OeYK-HW0AcN85-P3IDrZmTiMt0AL4llOfKdQhoV4zrggEyXd96awovehR1BpieMq5d-qVfg0xHZGXd9ftkCqo_6s0AivPwnazXDqsY2KwvVUlMaUdUA5ZE/s1600/Screen+Shot+2014-07-16+at+5.53.55+PM.TIF" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqHgY8gVfRRu1eUWzUryLkh4OeYK-HW0AcN85-P3IDrZmTiMt0AL4llOfKdQhoV4zrggEyXd96awovehR1BpieMq5d-qVfg0xHZGXd9ftkCqo_6s0AivPwnazXDqsY2KwvVUlMaUdUA5ZE/s1600/Screen+Shot+2014-07-16+at+5.53.55+PM.TIF" height="342" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">From left to right: <span style="color: #222222;">Display System#2<br />Sonia Leimer: Platzhalter (Place Holder), B Wurtz: untitled </span><span style="color: #222222;">Daniel Mendel-Black: Day At The Beach, Monika Baer: untitled, Gunter Lorenz: Sänger (Singer)</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD3oMKDJPktLD1U2Je2B5KuurqNGna4YW1LwDNFb9NTHU0YfRQyKs39HWiykS0BFZpU0awKdiJ_qV2rOqBNR0B5oOEGaqG8HRP-EBu5N4LWFraXwWERDMezo62YY-RLKlLFyxz2gQrltX2/s1600/Screen+Shot+2014-07-16+at+5.54.29+PM.TIF" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD3oMKDJPktLD1U2Je2B5KuurqNGna4YW1LwDNFb9NTHU0YfRQyKs39HWiykS0BFZpU0awKdiJ_qV2rOqBNR0B5oOEGaqG8HRP-EBu5N4LWFraXwWERDMezo62YY-RLKlLFyxz2gQrltX2/s1600/Screen+Shot+2014-07-16+at+5.54.29+PM.TIF" height="277" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">From left to right: <span style="color: #222222;">Display System#2 <br />Katie Grinnan: The Matter and a Story (mostly hidden, additional </span><span style="color: #222222;">image coming soon</span><span style="color: #222222;">), Anna Sew Hoy: Two Eyes, </span><span style="color: #222222;">Daniel Mendel-Black: Naked Dark, </span></span><span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Sonia Leimer: Platzhalter (Place Holder)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;"><span style="color: #222222;">Peter Schumann, Bread and Puppet Theater, </span><span style="color: #222222;">mask that was operated by two puppeteers in black shrouds in an epic Bread and Puppet Theater production of
THAT SIMPLE LIGHT MAY RISE OUT OF COMPLICATED DARKNESS. (hidden from view, image coming soon)</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjBtt6Yb1kvJ07868Rgz7qXr5FRHGW1uZjBGyuuF-MsRdvw8EdJYC5q_EbhxxAInkWcJJfPKJchTIDVGyeJ0qxPnprXPdV0kTRwRSb5Hk_dHEMRPIx2PBMeiamgbSXKIzxHyAW4wjZBq2h/s1600/Screen+Shot+2014-07-16+at+5.58.41+PM.TIF" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjBtt6Yb1kvJ07868Rgz7qXr5FRHGW1uZjBGyuuF-MsRdvw8EdJYC5q_EbhxxAInkWcJJfPKJchTIDVGyeJ0qxPnprXPdV0kTRwRSb5Hk_dHEMRPIx2PBMeiamgbSXKIzxHyAW4wjZBq2h/s1600/Screen+Shot+2014-07-16+at+5.58.41+PM.TIF" height="257" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">From left to right: <span style="color: #222222;">Display System#2</span></span><br />
<span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">From left to right: Judith Hopf: Smaller Mask, Judith Hopf: untitled,</span><br style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: x-small;" /><span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Matthew Waller: Peel, </span><span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Katie Grinnan: The Matter and a Story (mostly hidden, additional </span><span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">image coming soon</span><span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">), </span><br />
<span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Daniel Mendel-Black: Naked Dark,</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;"><span style="color: #222222;"><br /></span></span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">All Photos by Brian Forrest</span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-22328500046818365902014-04-20T13:40:00.001-07:002014-07-29T13:17:39.335-07:00News<a href="https://www.blogger.com/goog_1732652699">http://tmagazine.blogs.nytimes.com/2013/07/17/on-view-why-you-should-visit-a-13-foot-long-art-museum-in-southern-california/?ref=culture</a><br />
<div>
<a href="https://www.blogger.com/goog_1732652699">http://artforum.com/words/id=39474</a><br />
<a href="https://www.blogger.com/goog_1732652699">http://www.dailynews.com/20131231/the-los-angeles-museum-of-art-is-eagle-rocks-hidden-gem</a><br />
<a href="https://www.blogger.com/goog_1732652699">http://www.kcrw.com/etc/programs/at/at140515jim_isermann_at_tell?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+kcrw%2Fat+(Art+Talk</a><br />
<a href="https://www.blogger.com/goog_1732652699">http://artillerymag.com/renee-petropoulos/</a><br />
<a href="https://www.blogger.com/goog_1732652699">http://www.latimes.com/entertainment/arts/la-et-cm-knight-hammer-made-in-la-biennial-review-20140619-column.html#page=1</a><br />
<a href="https://www.blogger.com/goog_1732652699">http://www.kcet.org/arts/artbound/counties/los-angeles/made-in-la-2014-hammer-museum-full-roster-curator-ned-holte.html</a><br />
<a href="http://hyperallergic.com/139914/broadcasting-los-angeles/">http://hyperallergic.com/139914/broadcasting-los-angeles/</a><br />
<br /></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-64272199933431586952014-04-20T13:38:00.000-07:002016-01-21T22:47:53.751-08:00Renee Petropoulos - Proposal for a Pavilion<div style="text-align: justify;">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Sculpture for the Opening of a Pavilion 2014</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Sculpture for the Opening of a Pavilion 2014</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i style="background-color: white; color: #222222; font-family: arial, sans-serif; text-align: start;"><span style="font-size: x-small;">Bouquet (Flower Girl) Between Libya, the United States and Scotland 2014</span></i></td></tr>
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<i style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px; text-align: start;">Bouquet (Flower Girl) Between Libya, the United States and Scotland 2014 (detail)</i></div>
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<tr><td class="tr-caption" style="text-align: center;"><i style="background-color: white; color: #222222; font-family: arial, sans-serif; text-align: start;"><span style="font-size: x-small;">Bouquet (Flower Girl) Between Libya, the United States and Scotland 2014</span></i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Rebecca Tull Yates</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Jorge Martin</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">William Roper</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Rebecca Tull Yates, Renée Petropulos</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Gregory Lenczycki</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Rebecca Tull Yates, Renée Petropoulos</td></tr>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-829632525714009688.post-86932142057246079282014-02-18T16:10:00.001-08:002015-05-06T19:28:41.805-07:00Violet Hopkins - Pattern Compulsion / Esther de Graaf - Antenna<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px; text-align: start;">"Groupings curated from the postcard archive of Violet Hopkins"</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px; text-align: start;">With the aid of iron wire, plastic foil and aluminum foil I </span><span style="background-color: white; color: #222222;">build structures where everything is visible yet simultaneously strives to </span><span style="background-color: white; color: #222222;">be translucent. </span><span style="background-color: white; color: #222222;">My recent sculptures are constructed from cardboard, tape, aluminum-</span></span><span style="font-family: Times, 'Times New Roman', serif;">foil and iron wire. They often take on a monumental sculptural form. For the exhibition at LAMOA I will use the project space to show two small sculptures, which are based on organic and architectural structures, and I will exhibit one outdoor sculpture.</span></div>
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<span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px; text-align: start;">Violet Hopkins</span></div>
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<span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px; text-align: start;">Pattern Compulsion</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Photos: Rachel Bank</td></tr>
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<span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px; text-align: start;">Esther de Graaf</span></div>
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<span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px; text-align: start;">Antenna</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJavhp7mMCKEGy8Q9NtxT_MgxKCfsOyi3_0eZFbsQjXPKGcr8BGvN98lmD0kQAaiEoiNEXQsxZqddDRgHWEp5B5qlMXar3B_lxx7RfuJNm3tMSPOurYWEGSAiyLrliskrJuxN4uk5JIa2c/s1600/Sculpture_Left_Esther_LamoaProjectspace.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJavhp7mMCKEGy8Q9NtxT_MgxKCfsOyi3_0eZFbsQjXPKGcr8BGvN98lmD0kQAaiEoiNEXQsxZqddDRgHWEp5B5qlMXar3B_lxx7RfuJNm3tMSPOurYWEGSAiyLrliskrJuxN4uk5JIa2c/s1600/Sculpture_Left_Esther_LamoaProjectspace.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photos: Esther de Graaf</td></tr>
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