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DTSTART;VALUE=DATE:20200111
DTEND;VALUE=DATE:20200217
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SUMMARY:Anish Kapoor
DESCRIPTION:Anish Kapoor \nJanuary 11 – February 16\, 2020 \nPress preview with the artist: Saturday\, January 11\, 11:00 am \nOpening reception: Saturday\, January 11\, 6:00 – 8:00 pm \nGallery hours: Tuesday – Saturday\, 10:00 am – 6:00 pm \nRegen Projects is pleased to announce an exhibition by renowned artist Anish Kapoor. Since the 1980s Kapoor’s ambitious practice has continuously expanded the limits of sculptural form by investigating scale\, volume\, color\, and materiality. With this exhibition\, the artist’s sixth solo presentation following his gallery debut in 1992\, Kapoor brings together a selection of new mirror works that challenge optical perception and phenomenological experience through experiments in shape and form. \nThe cornerstone of the exhibition is a monumental stainless-steel Double S-Curve. Expanding upon a singular work originally exhibited at Regen Projects in 2006\, the sculpture’s alternating concave and convex structure snakes through the center of the gallery. Simultaneously appearing both solid and liquid\, its highly polished mirrored surfaces refract and reflect its surroundings\, creating an illusory sense of reality that confounds one’s relationship to the space. \nA new series of wall-mounted mirrors subtly shift in shape between convex and concave. Hovering at eye level each sculpture projects various geometric shapes of acute triangles\, circles and rectangles\, that playfully tease the viewer’s optical perception and force them to re-examine their phenomenological experience. In his landmark essay on Kapoor’s work “Making Emptiness\,” Homi K. Bhaba writes\, “The tactile experience of transition is caught in the virtual space in between the double mirrors. The perspectival distance between subject and object\, or the mimetic balance between the mirror and its reflection\, are replaced by a movement of erasure and inversion – ‘reverse\, affirm\, negate.’ It is as if the possibility of pictoriality or image-making\, associated with visual pleasure\, has been unsettled to reveal emptiness\, darkness\, blankness\, the blind spot. However\, the purpose of Kapoor’s work is not to represent the mediation of light and darkness\, or negative and positive space\, in a dialectical relationship in which emptiness will travel through the darkening mirror to assume the plenitude of presence. Kapoor stays with the state of transitionality\, allowing it the time and space to develop its own affects – anxiety\, unease\, restlessness – so that viewing it becomes part of the process of making the work itself. The spectator’s relation to the object involves a process of questioning the underlying conditions through which the work becomes a visual experience in the first place: how can the conceptual be visible? How can the perceptual void be spoken?” \nAnish Kapoor was born in Mumbai\, India in 1954 and lives and works in London. \nKapoor’s work has been the subject of numerous exhibitions worldwide. In 2019 he became the second contemporary artist to install their work in Beijing’s Forbidden City. The exhibition was presented at the Imperial Ancestral Temple and coincided with a survey at the Central Academy of Fine Arts. Additional recent solo exhibitions include CorpArtes\, Santiago (2019); Pitzhanger Manor and Gallery\, London (2019); Serralves Museum\, Porto (2018); Parque de la Memoria\, Buenos Aires (2017); MAST Foundation\, Bologna (2017); Museo Universitario Arte Contemporáneo (MUAC)\, Mexico City (2016); Couvent de la Tourette\, Eveux\, France (2015); Château de Versailles (2015); The Jewish Museum and Tolerance Center\, Moscow (2015);  Martin Gropius Bau\, Berlin (2013); and the Royal Academy\, London (2009). \nHe has been the recipient of numerous international awards\, including a Premio Duemila for his representation of Britain at the 44th Venice Biennale (1990)\, a Turner Prize (1991)\, a CBE (2003)\, Ordre des Arts et des Lettres (2011)\, a Padma Bhushan (2012)\, and a Knighthood (2013) for services to visual arts. \nAn opening reception for the artist will be held on Saturday\, January 11\, from 6:00 – 8:00 pm. \nFor all press inquiries\, please contact Ben Thornborough at +1 310 276 5424 or benthornborough@regenprojects.com. \nFor all other inquiries\, please contact Katy McKinnon\, Sarvia Jasso\, or Irina Stark at Regen Projects. \n\n\nDOWNLOAD PDF
URL:https://mediadistrict.org/calendar/anish-kapoor/
LOCATION:Regen Projects\, 6750 Santa Monica Blvd.\, Los Angeles\, CA\, 90038
CATEGORIES:events
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200111
DTEND;VALUE=DATE:20200223
DTSTAMP:20260421T175934
CREATED:20200205T221937Z
LAST-MODIFIED:20200205T225818Z
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SUMMARY:Transformer - Kristy Luck
DESCRIPTION:Philip Martin Gallery is pleased to announce an exhibition of new paintings by Los Angeles-based artist Kristy Luck. There will be a reception for the artist Saturday\, January 11\, from 6-8pm. \nKristy Luck’s paintings are windows into psychological spaces where forms emerge from fluid gestures and rich colors. Building upon sketches\, these surreal landscapes evoke a subconscious understanding of space and objects. Her titles give viewers a glimpse of her intentions and the imagery and patterns echo historical depictions of women in melancholic or revelatory states. In this new body of work\, Luck includes motifs of erupting volcanoes\, bursting blooms\, and spinning tornadoes\, all events that signal transformation. At the same time\, these shapes are open so that viewers can also bring their own associations and readings of the scenes. Luck’s work encourages interpretation and singular connections. The artist has said\, “I am trying to find a visual language for personal melancholia and intuition; melancholia not as a pathology\, but as an illuminating discourse with oneself\, and intuition as subconscious pattern recognition. I’m interested in how these emotional experiences have been dismissed or devalued when associated with the ‘feminine mind.’” \nKristy Luck’s soft edges and washes of color belie a rigorous painting process. Luck builds the colorful compositions on the canvas methodically\, working on multiple paintings at once. This distance from an individual work allows her the space to weigh each movement. This deliberation is evident in the tonal balance of each work. Luck’s expressions of color and light result in moody paintings that draw viewers in. In the artist’s own words\, “I want my surfaces to generously reveal their making to the viewer in visible\, built-up layers and repeated patterns. At the same time\, I let the forms in the image slip out of grasp to evoke personal or private mystery.” Kristy Luck aims for each work to be generous in its clarity of material\, but nebulous in its meaning. It is in this tension between the physical and the psychic nature of painting that the work is most rewarding for close viewers. \nKristy Luck (b. 1985\, Woodstock\, IL) received a BFA from Rockford University and a MFA from The School of the Art Institute of Chicago. Her work has been the subject of solo exhibitions at ODD ARK LA (Los Angeles\, CA)\, Tiger Strikes Asteroid (Chicago\, IL)\, and Eastside International (Los Angeles\, CA). Additionally\, her work has been included in group shows at A Public Space (Fishers Island)\, Torrance Art Museum (Torrance\, CA)\, Corbett vs. Dempsey (Chicago\, IL)\, 0-0LA (Los Angeles\, CA)\, Projet Pangée (Montreal\, Canada)\, Jacob’s West (Los Angeles\, CA)\, and Guerrero Gallery (San Francisco\, CA). Luck was awarded the Lighthouse Works Fellowship in 2017. Her work has been featured in numerous publications including Los Angeles Times\, Architectural Digest\, Whitehot Magazine\, The Editorial Magazine\, and Opening Ceremony. Luck currently lives and works in Los Angeles\, CA. \nPhilip Martin Gallery hours are Tuesday through Saturday from 10am-6pm and by appointment. For further information and images please contact the gallery at +310-559-0100 or info@philipmartingallery.com.
URL:https://mediadistrict.org/calendar/transformer/
LOCATION:Philip Martin Gallery\, 2712 S La Cienga Blvd\, Los Angeles\, CA\, 90034\, United States
CATEGORIES:events
ATTACH;FMTTYPE=image/jpeg:https://mediadistrict.org/wp-content/uploads/2020/02/kristyluck.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200118
DTEND;VALUE=DATE:20200322
DTSTAMP:20260421T175934
CREATED:20200205T223547Z
LAST-MODIFIED:20200205T225758Z
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SUMMARY:Lisa Oppenheim: The Eternal Substitute
DESCRIPTION:“Think of depicting a zone of the heavens on a single roll of sensitive gelatin\, then rolling it up like the scrolls of ancient libraries for future reference.” – From an advertorial in the Rochester Evening Times by Eastman Kodak announcing the introduction of celluloid roll film on July 11\, 1889. \n*** \nTanya Bonakdar Gallery is pleased to present Lisa Oppenheim: The Eternal Substitute\, on view from January 18 through March 21\, 2020. This will be the artist’s first solo exhibition on the West Coast and her third solo exhibition with Tanya Bonakdar Gallery. \nAs we enter the third decade of the 21st century\, photographic images have never been more ubiquitous\, nor ephemeral\, intangible\, and momentary. While the ‘instant’ is celebrated\, circulated and amplified\, the material objects and artifacts that define and comprise the archive\, and thereby history\, are in peril. For more than 15 years\, Lisa Oppenheim has explored the inextricable relationship between history and photography. Establishing a practice deeply grounded in research\, Oppenheim explores the materials and processes that create images\, and thereby that quite literally frame the way we see the world. \nThroughout the exhibition\, Oppenheim presents four new bodies of work that explore celluloid film\, the foundational medium that revolutionized commercial photography and made motion pictures possible. The exhibition unravels an elegiac narrative of beauty\, reflection\, and spectacular obsolescence\, investigating the crucial role that materials play in history and cultural development. \nLarge silver-toned photograms span the main gallery space. Using neutral density filters as a stand-in for the weightless transparency of celluloid\, Oppenheim varied the exposure of each photosensitive surface and replaced the silver gelatin emulsion with metallic silver during the developing process\, making oblique reference to both the “silver screen” and to photography’s limitless capacity to reflect the world back upon itself. Paired together within each frame\, the dimensions of each sheet conform to the aspect ratio for still images (2:3) and as a set comprise that for silent motion picture film (4:3)\, which is referenced in the series’ title: 4:3:2. Using camphor wood frames\, the artist underscores the relationship between the primary materials that constitute celluloid film. \nFirst popularized in the late 19th century as an inexpensive substitute for a vast spectrum of materials from precious ivory to household linen\, celluloid inaugurated the modern era of synthetic plastics. It replaced jewelry\, children’s toys\, toothbrush handles\, playing cards and even textiles\, but remained just that: an inessential alternative for common and luxury goods alike. It was not until the introduction of celluloid roll film by Eastman Kodak in 1889 that celluloid became a medium in its own right and ushered in a new era of standardization in the photographic industry. \nEarlier photographic emulsions required the support of cumbersome glass plate negatives; once distilled crystals from camphor wood were employed as a plasticizing agent\, the highly flexible support allowed lightweight film stocks to flicker through motion picture cameras. For the first time\, images on film could be standardized and mass produced\, and celluloid quickly became a metonym for the medium itself. Celluloid was eventually abandoned due to its extreme flammability but\, much like the “silver screen\,” its association with cinema endured even into the digital age. \nIn the back gallery space\, Oppenheim expands her Landscape Portrait series: photograms created using paper-thin slices of wood as “negatives” applied directly to a photosensitive surface. In each portrait of the internal landscape of a given tree species— in this case\, camphor— patterns emerge and resemble Rorschach tests\, psychedelic patterns\, or otherworldly topologies. In a near sculptural consideration of material\, the wood portrayed in each image is reiterated in the frame itself—as camphor is represented in the photograph\, the part of the frame surrounding it is made of reclaimed camphor wood— fusing notions of the photographic image\, its substrate and material support. \nFor the front gallery space\, Oppenheim created new works from her iconic Smoke series to signify celluloid’s ultimate downfall. The same combination of camphor and liquefied nitrocellulose that made it so successful as film also led it to combust over time. In this series\, the artist crops found photos of fires or explosions and solarizes the prints by exposing them with the light of an open flame\, marrying the subject with means of production: images of smoke\, exposed by the light of the fire. The works’ title\, Photograph of Nitrate Film Vault Test\, Beltsville Maryland\, was taken from the caption accompanying the archive image Oppenheim sourced from The U.S. National Archives and Records Administration. As nitrate film fires became a known hazard\, various agencies pursued safe storage methods in order not to lose entire inventories and archives\, and explosive field tests were carried out to determine the extent of their stability. In Oppenheim’s abstraction\, celluloid’s disappearance is both reinforced and reversed. A record of its imminent extinction— now absence— is materialized in the present. \nOn the same day that Kodak announced its release of celluloid roll film\, skilled workers at the Harvard Observatory called “computers”— women who processed astronomical data — annotated star maps of the southern hemisphere. For the new series displayed in the gallery’s reception space\, Computers’ Notations\, July 11\, 1889\, Oppenheim created unique silver toned gelatin prints from images in Harvard’s archive\, cropping and enlarging the Computers’ freehand markings — quick circles around stars and exclamatory arrows indicating a discovery of variation in color\, brightness or position from new Observatory photographs. The superimposition of an antique-looking surface with contemporary handwritten markings blurs the viewer’s understanding of time in a manner that is typical in Oppenheim’s practice\, in which she translates historical material through contemporary processes. In Oppenheim’s own translations\, she performs a similar gesture to the Computers’: processing data from the infinite digital universe and distilling it to a single moment. \nOppenheim’s work has been the subject of solo exhibitions at Museum of Contemporary Art Denver (2017)\, Museum of Contemporary Art Cleveland (2016)\, FRAC Champagne-Ardenne (2015)\, Kunstverein in Hamburg (2014)\, Grazer Kunstverein\, (2014). In 2014\, Oppenheim was the recipient the AIMIA|AGO Photography Prize from the Art Gallery of Ontario and the Shpilman International Photography Prize from the Israel Museum. Notable group exhibitions including Light\, Paper\, Process: Reinventing Photography\, The Getty Center\, Los Angeles (2015)\, Photo-Poetics\, Deutsche Bank Kunsthalle\, Berlin and Guggenheim Museum\, New York (2015)\, AIMIA|AGO Photography Prize Exhibition\, Art Gallery of Ontario\, Toronto (2014)\, and New Photography at The Museum of Modern Art (2013). \nOppenheim’s work is held in the permanent collections of The J. Paul Getty Museum\, Los Angeles\, Museum of Modern Art\, New York\, San Francisco Museum of Modern Art\, San Francisco\, The Solomon R. Guggenheim Museum\, New York\, the Santa Barbara Museum of Art\, Santa Barbara\, Centre Georges Pompidou\, Paris\, Carnegie Museum of Art\, Pittsburgh\, Israel Museum\, Jerusalem\, Cincinnati Art Museum\, Ohio and MIT List Visual Arts Center\, Cambridge\, Milwaukee Art Museum\, among others.
URL:https://mediadistrict.org/calendar/lisa-oppenheim-the-eternal-substitute/
LOCATION:Tanya Bonakdar Gallery\, 1010 N Highland Ave\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:events
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200125
DTEND;VALUE=DATE:20200224
DTSTAMP:20260421T175934
CREATED:20200205T224130Z
LAST-MODIFIED:20200205T225718Z
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SUMMARY:The Bluest Eye
DESCRIPTION:Set in the 1940s\, the Bluest Eye is about the tragic life of a young 11 year old black girl from Ohio\, named Pecola Breedlove. Pecola wants nothing more than to be loved by her family and schoolmates. Instead\, she faces constant ridicule and abuse. She blames her dark skin and prays for blue eyes\, sure that love will follow. With Rich language and bold vision\, this powerful adaptation of an American classic explores the crippling toll that a legacy of racism has taken on a community\, a family\, and an innocent girl.
URL:https://mediadistrict.org/calendar/the-bluest-eye/
LOCATION:Hudson Backstage Theatre\, 6539 Santa Monica Blvd\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:events
ATTACH;FMTTYPE=image/jpeg:https://mediadistrict.org/wp-content/uploads/2020/02/thebluesteye.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200201
DTEND;VALUE=DATE:20200229
DTSTAMP:20260421T175934
CREATED:20200205T225632Z
LAST-MODIFIED:20200205T225632Z
UID:548-1580515200-1582934399@mediadistrict.org
SUMMARY:Salt's Cure #FOODISLOVE
DESCRIPTION:Salt’s Cure – Highland Chopped Salad. Donating $1 to St. Vincent Meals on Wheels to help feed a hungry senior. With the hashtag #FOODISLOVE
URL:https://mediadistrict.org/calendar/salts-cure-foodislove/
LOCATION:Salt’s Cure\, 1155 N Highland Ave\, CA\, 90046\, United States
CATEGORIES:events
ATTACH;FMTTYPE=image/jpeg:https://mediadistrict.org/wp-content/uploads/2020/02/saltscure.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200201
DTEND;VALUE=DATE:20200301
DTSTAMP:20260421T175934
CREATED:20200205T233446Z
LAST-MODIFIED:20200205T233554Z
UID:567-1580515200-1583020799@mediadistrict.org
SUMMARY:Coffee For Sasquatch
DESCRIPTION:Fundraising for Ocean Clean Up. Discount to anyone who brings in a reusable mug.
URL:https://mediadistrict.org/calendar/coffee-for-sasquatch/
LOCATION:Coffee for Sasquatch\, 7020 Melrose Ave\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:events
ATTACH;FMTTYPE=image/jpeg:https://mediadistrict.org/wp-content/uploads/2020/02/coffeeforsasquatch2.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200205
DTEND;VALUE=DATE:20200210
DTSTAMP:20260421T175934
CREATED:20200205T230503Z
LAST-MODIFIED:20200205T230503Z
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SUMMARY:Zona Macho Art
DESCRIPTION:
URL:https://mediadistrict.org/calendar/zona-macho-art/
LOCATION:Nino Mier Gallery\, 7277 Santa Monica Blvd\, CA\, 90046\, United States
CATEGORIES:events
ATTACH;FMTTYPE=image/jpeg:https://mediadistrict.org/wp-content/uploads/2020/02/zonamaco.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200208
DTEND;VALUE=DATE:20200210
DTSTAMP:20260421T175934
CREATED:20200205T232121Z
LAST-MODIFIED:20220912T172134Z
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SUMMARY:All of Them Witches
DESCRIPTION:Organized by Dan Nadel and Laurie Simmons \nOpening Reception: Saturday\, February 8th 6-8PM \nThis exhibition arose from a conversation we’ve been having for years about our shared affinity for a certain kind of art to which we’re drawn\, can’t quite name\, but recognize when we see it. Artworks and artists that share an affinity with what we thought of as a “witchy” sensibility\, which we see as using the iconography of the supernatural\, occult\, and witchcraft to channel ideas about power\, the body\, and gender. \nThe conversation began because Laurie was aware of Dan’s interest in the history of graphic art and his insatiable desire to discover new work—often by lesser known artists. She introduced him to the work of Auste Peciura who showed her work in the adjacent gallery when Laurie had her first show at Artists Space in 1979. Discussing Auste led us to the mid-century gothic drawing and filmmaking\, from Edward Gorey to Alfred Hitchcock\, and that got us thinking about the work of contemporary artists who stirred up some of the same feelings; we discovered a shared passion for the paintings of Ellen Berkenblit\, the sculptures of Niki de Saint Phalle\, and the photography of Deborah Turbeville. This constellation of artists became the center of an ongoing game\, a list to which we would add and subtract whenever we met.\nThis is how All Of Them Witches was born\, though it was many months before we had the idea for an exhibition and longer still before there was a concept and a title. The essence of the work seems to emanate from women\, though there are certainly male and trans artists whose works fit the bill. The art touches on spells and incantations\, wishes and curses\, though it needs a dose of adolescence to make sense in the context we’ve created. This crosses into works about or employing notions of gender\, puberty\, sex\, the historical occult\, cartoons\, ritual\, landscape\, and fantasy. This iconography offers a recognizable foothold for makers and viewers alike in otherwise traditionally challenging subject matter and allusive poetics. This was the matrix we used to discern artists who shared an affinity with what we thought of as a “witchy” sensibility. \nWhile we respect the history and context of real-practice occult\, this is a show about the aesthetic influence of those traditions\, not the actual practice behind it. Multiple generations and media will be present\, from painting (Hollis Sigler\, Gertrude Abercrombie)\, drawing (Heather Benjamin\, Cameron)\, sculpture (Audrey Flack\, Greer Lankton)\, videos (Marilyn Minter’s Green Caviar)\, and photographs (Cindy Sherman\, Bea Nettles). \nIn a time of constant historical and thematic artistic rediscoveries\, we present a breadcrumb trail that already exists—a shared language across generations of artists who share in a knowledge of\, and taste for\, a bit of the cauldron and a touch of darkness. \n-Dan Nadel and Laurie Simmons\, October 2019 \nThe artists participating in All of Them Witches are: \nGertrude Abercrombie\nTunji Adeniyi-Jones\nJanine Antoni\nAustė\nSylvie Auvray\nHeather Benjamin\nEllen Berkenblit\nJudith Bernstein\nAmy Bessone\nAlison Blickle\nSascha Braunig\nMelissa Brown\nCameron\nEllen Carey\nSarah Charlesworth\nJudy Chicago\nColette\nMyrlande Constant\nNiki de Saint Phalle\nGeorganne Deen\nJimmy DeSana\nTrenton Doyle Hancock\nRenate Druks\nHayden Dunham\nCeleste Dupuy-Spencer\nRachel Feinstein\nAudrey Flack\nSylvie Fleury\nAnna Gaskell\nTamara Gonzales\nTrulee Hall\nAllison Janae Hamilton\nLyle Ashton Harris\nJudith Hudson\nMarguerite Humeau\nCameron Jamie\nJane Kaplowitz\nCaitlin Keogh\nAline Kominsky-Crumb\nSuzy Lake\nGreer Lankton\nJudith Linhares\nMichael Mahalchick\nGuadalupe Maravilla\nJuanita McNeely\nAna Mendieta\nMarilyn Minter\nShana Moulton\nJill Mulleady\nWilla Nasatir\nShirin Neshat\nBea Nettles\nNiagara\nKayode Ojo\nBreyer P-Orridge\nMaia Cruz Palileo\nAriana Papademetropoulos\nKembra Pfahler\nKeisha Scarville\nCarolee Schneemann\nMichelle Segre\nCindy Sherman\nHollis Sigler\nAviva Silverman\nXaviera Simmons\nEmily Mae Smith\nJack Smith\nKiki Smith\nNancy Spero\nFrancine Spiegel\nRobert Therrien\nJohn Torreano\nDeborah Turbeville\nAndra Ursuta\nMarnie Weber\nMatthew Weinstein\nKaren Yasinsky\nLisa Yuskavage\nImage: Ellen Berkenblit\, Electric Lace\, 2018.
URL:https://mediadistrict.org/calendar/all-of-them-witches/
LOCATION:Jeffrey Deitch Gallery\, 925 N Orange Drive\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:events
ATTACH;FMTTYPE=image/jpeg:https://mediadistrict.org/wp-content/uploads/2020/02/jeffreydeitch.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200208
DTEND;VALUE=DATE:20200329
DTSTAMP:20260421T175934
CREATED:20200205T231307Z
LAST-MODIFIED:20200205T231313Z
UID:556-1581120000-1585439999@mediadistrict.org
SUMMARY:Sofu Teshigahara Art Exhibit
DESCRIPTION:
URL:https://mediadistrict.org/calendar/sofu-teshigahara-art-exhibit/
LOCATION:Nonaka Hill Gallery\, 720 N Highland Ave\, Los Angeles\, CA\, 90038\, United States
CATEGORIES:events
ATTACH;FMTTYPE=image/jpeg:https://mediadistrict.org/wp-content/uploads/2020/02/sofuteshigahara.jpg
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