Art Scene & {Seen} Ashley Gaile Harris - Art Advisory LLC

Art Scene & {Seen}

Ashley Gail Harris, Art Advisory LLC
From the Streets to Sotheby's... Art Scene & {Seen}

#NYC: Bruce Conner Opening @ Paula Cooper Gallery #BruceConner #PaulaCooperGallery #60s #experimental #avantgarde #film #counterculture



NEW YORK — The Paula Cooper Gallery is pleased to announce a one-person exhibition of works by renowned artist and avant-garde film pioneer Bruce Conner (1933-2008), which will be on view at 521 W 21st Street beginning May 7.




BRUCE CONNER  |  Opening May 7, 2013  |  521 W 21st Street

This exhibition presents a selection of felt-tip pen and inkblot drawings dating from 1962 to 2000. The works underscore Conner’s ongoing interest in abstraction and the development of an intricate visual vocabulary: undulating densities of line, kinetic geometry, plays of light and dark. A prolific artist whose interests ranged from punk rock to non-Western mysticism, Conner maintained a crucial relationship to abstraction not only his drawings but also throughout his career.


Central to the exhibition will be EASTER MORNING, considered to be Conner’s most abstract film. EASTER MORNING is a montage of dreamlike images generated from footage shot by the artist on a spring morning in San Francisco in 1966. Like the assemblages for which he first gained critical attention and the rhythmic patterning of his drawings, Conner’s films have been described as collages that explode linear narrative and produce a sense of “optical overload.”[1] EASTER MORNING breaks with the artist’s signature deconstructive editing process. He achieved the hypnotic rhythms in camera using frame rates, camera movements, and multiple exposures; Conner called it a “perfect movie.” The film was completed in 2008 shortly before the artist’s death. It is considered his last major work.


In conjunction with the Jay DeFeo retrospective at The Whitney Museum of American Art, Conner’s 1967 short film, THE WHITE ROSE will be screened from April 25 to May 12, 2013. In 2000, the Walker Art Center in Minneapolis organized an exhibition of Conner’s work titled “2000 BC: The Bruce Conner Story, Part II.” This show traveled to the Modern Art Museum of Fort Worth, the M.H. de Young Memorial Museum in San Francisco, and the Los Angeles Museum of Contemporary Art. His works have been included in major exhibitions, such as the historic 1961 “The Art of Assemblage” at The Museum of Modern Art. His works are also in the collections of many major museums, including The Guggenheim Museum; The Metropolitan Museum of Art; The Whitney Museum of American Art; The Museum of Modern Art; The San Francisco Museum of Modern Art; Los Angeles County Museum of Art; The Walker Art Center, Minneapolis; The Art Institute of Chicago; The National Gallery of Art, Washington DC; Hirshhorn Museum and Sculpture Garden, Washington DC; and The Centre Pompidou, Paris.


This exhibition has been organized with the support of The Conner Family Trust, San Francisco and Michael Kohn Gallery, Los Angeles.

[1] Boswell, Peter. “Bruce Conner: Theater of Light and Shadow,” 2000 BC: The Bruce Conner Story Part II, Walker Art Center, Minneapolis, 2000, p. 27.

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JUNE 21 - JULY 31, 2013


Kerstin Brätsch
Nikolas Gambaroff
Lucas Knipscher
Nick Mauss
Charles Mayton
Marie Michaels
Sean Paul
Clément Rodzielski
Nora Schultz
Valerie Snobeck

Because the soul is progressive, it never quite repeats itself, but in every act attempts the production of a new and fairer whole.
-Ralph Waldo Emerson, On Art

I can’t believe it. No, I will not lie, I can easily conceive of it.
- Samuel Beckett, Molloy

If I do everything in my own interest, it is because the interest I have in myself comes before everything else.
– Seneca, On Benefits

This exhibition focuses on the evolution of certain forms of production that are realized by the dismantling of external elements and uniting them into an internalized and intentionally conflicted whole. This activity is inherently schizophrenic and therefore results in a multifarious yet not unresolved output.

The title roughly translates to “before returning home you must burn down the house” – which could mean, among other things, that engaging with oneself one requires continual processes of disassembly in an effort to form a united, cohesive self. The linguistic shift in the exhibition’s title is representative of the passage from one state of being to another, with inevitable (and intentional) slippages in implication. Also at play are fractured, interrupted systems: disassembly/assembly, self/duality, subjectivity/influence, privacy/publicity, singularity/multiplicity. The exhibition seeks to locate itself in the fold between these states, in moments of transition and contradiction.

T. 310 494 1177

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LA:LA: Opening TMW #GRAPEVINE~ #MagdalenaSuarezFrimkess #MichaelFrimkess #JohnMason #RonNagle #PeterShire curated by #RickySwallow


Ron Nagle
Unabana, 2013
mixed media
3 x 6.25 x 2.5 inches
(7.6 x 15.9 x 6.4 cm)

3143 S. La Cienega Blvd, Unit A
Los Angeles, CA. 90016
T 310.558.3030
F 310.558.3060

Magdalena Suarez Frimkess, Michael Frimkess, John Mason, Ron Nagle, Peter Shire 
curated by Ricky Swallow
July 13 – August 17, 2013

Opening reception: Saturday, July 13, 6:00–9:00pm

GRAPEVINE~ was conceived as way of exhibiting a group of artists who have all worked in clay, in California, for more than 40 years. Throughout that time these artists have always sought to contradict the limitations of the medium in terms of its craft parameters. It might sound obvious, but there is something about this work brewing on the West Coast. I can’t imagine it surfacing anywhere else with its strangeness paired with such dedication to finish and quality. The show is intended to reflect a fan’s perspective rather than an exhaustive attempt to chronicle the history of the ceramics movement in California, as the Pacific Standard Time exhibitions recently performed this function perfectly.

It’s revealing to consider the works on view in light of the current state of ceramics in the contemporary art world. Though clay is drawing new attention among younger artists, these “visitors,” as one ceramics elder described them to me, seem to be focused on bringing out the medium’s malleable qualities. Meanwhile the “permanent residents” are very much still exceeding themselves in the studio. The specific agendas put forward by publications like Craft Horizons in the 1960s and 70s, calling for the promotion of new directions in ceramics, could today seem like a fence, limiting any cross-pollination between craft and contemporary practices. The work in GRAPEVINE~, much of it created during the extended “lost weekend” the medium experienced over the previous decades, resonates more than ever right now as a retroactive influence.

Historically the very nature of the ceramic medium implies the tradition of setting up a studio (or pottery), building the appropriate kilns, and constantly performing glaze and clay body tests in order to attain the desired effect. To me, this romantic (some might say dated) discipline is the thing that separates the work of the permanent residents from that of the visitors. For instance, John Mason still mixes his own clay body in an archaic industrial bread mixer, and Michael Frimkess develops latex gloves with stainless steel fingernails in order to throw his large vessels (without the aid of water) to the desired thinness. This rigor results in specific families of forms that can be identified throughout each artist’s body of work––in many cases recurring motifs span decades of object-making––and a sense of serious play is always checked by technical discipline. 

Perhaps even more surprising is the range of cultural information that makes appearances in so many different ways: I’m thinking about how art deco, custom car culture and architecture informs Peter Shire and Ron Nagle’s work; or how popular staples of American comic imagery adorn the classically-inflected pots of Michael and Magdalena Suarez Frimkess; or the way Mason’s work has such a Jet Propulsion Laboratory-engineered vibe. The more familiar gestural “abstract expressionist” style of the 50s and 60s, which for many defines ceramics-based work from California, is only a small part of the story. In subsequent decades these artists found their own specific languages, a natural evolution as the medium was applied toward more purely sculptural ends. At the same time, they were crossing paths in studios and universities, influencing each other and the course of the ceramics movement at large.

For instance, Nagle was in San Francisco paying close attention to the gang surrounding Peter Voulkos (who is represented in the exhibition by a small work gifted to Mason during their time as studio mates); this gang eventually became the group of ceramicists associated with Ferus Gallery here in Los Angeles, though I was surprised to learn how influential Michael Frimkess’s early works were for Nagle at the time. Revered by other artists working with clay, Frimkess never received the same ongoing exposure as Ken Price, Billy Al Bengston and Mason, who were his peers studying under Voulkos in the mid 1950s at the Los Angeles County Art Institute (later Otis College of Art and Design). Magdalena Suarez Frimkess, meanwhile, came from a sculpture background, studied in Chile, and never trained formally as a potter. She began by working collaboratively, glazing Michael’s pots from the time they met in the early 60s in New York, before starting to make her own sculptures and hand-formed pots in 1970. Arriving a few thousand years after the Greek and Chinese vessels they resemble, and a few decades before the pictorial pots of Grayson Perry, these objects occupy a place between many genres and continue a rich tradition of narrative storytelling through pottery.

Shire, some years younger than the others in the show, was also a keen observer, later becoming friends with Nagle and Mason––it was Peter who first introduced me to John. Interestingly, there was already an existing connection between Shire and Frimkess, as their fathers were acquainted through labor unions in Los Angles in the 1940s and 50s, and both artists were raised in creative households infused with progressive politics, modernism, and craftsmanship. And one can perhaps trace connections between Shire’s Memphis-associated work and the moment when Nagle’s earliest, more malleable cup variations gave way to a pre-Memphis form of architecture. More recently Nagle’s work has featured stucco-like, spongy, ikebana-core tableaux, and archimetric structures made with a model maker’s precision; parts are shaped, adjusted and fitted together, and glazed with multiple firings to wizardly effect. 

The fastidious steps behind all of the works in GRAPEVINE~ remain available to the viewer as tight information, yet always with enough variation and nuance to locate them within the studio environment as opposed to more familiar traits of outsourced fabrication. The formal training of a potter (a skill which is now weeded out of the few ceramics programs still in place) is visible in all of this work: proportion, the lift provided by a well-trimmed foot, and the energy and circulation of the clay itself are still defining factors. For the most part all included works have come directly from the artists, and I am grateful to have been allowed such a degree of physical searching and selecting during studio visits. The privilege of this access has both shaped the show in a very tactile and subjective manner, and allowed a greater understanding of the historic, technical, and conceptual conditions that inform each piece. 

In addition to the artists, I would like to thank Ryan Conder, Karin Gulbran, Vernita Mason, Pam Palmer, Lesley Vance, and David Kordansky.

For further information, a comprehensive interview with each of the artists in the show can be found archived online in the Smithsonian Archives of American Art:

––Ricky Swallow

GRAPEVINE~ will be accompanied by a forthcoming catalogue. Please contact the gallery for further details.

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LA: KENNETH TAM /// \\ KATIE HERZOG //// & \\ SARAH CROMARTY @NightGallery #nightgallery



Polite, intelligent and respectful

Transtextuality (SB 48)

JUN 29 - AUG 3

Works in the Lounge by Sarah Cromarty





Night Gallery is pleased to present Polite, intelligent and respectful a solo exhibition by LA artist Kenneth 

Tam. It appears that the image of a dog eating its own excrement is still an object of fascination and 

disbelief. Scat, or shit-play, is not unknown to humans but we can somewhat safely relegate that to the 

domain of the sexual fetish.  For one’s dog to openly engage in scatological behavior is where the 

instinctual and libidinal qualities of a dog come into tension with how we train and expect them to function. 

Dogs are bottomless wells of affection and tenderness, but are also prone to eat shit and then kiss you on 

the face. 

For his exhibition, Tam uses a variety of pet-related accessories, from beds and balls to altered toys and 

dog food, to create an environment of cleanly welded sculptures.  These freestanding objects waver 

between smartly hygienic and debased, like gym equipment repurposed for sexual pleasure or animal 

slaughter.  Encouraging the viewer to adopt a more pet-like point of view, these sculptures point to the 

perverse and complicated nature of relationships in which subservience plays a major role.  These works 

are complemented by a video piece in which Tam and an anonymous collaborator act out a scenario in 

which the artist becomes an unwitting male model.  This video is a continuation of Tam’s ongoing series of 

videos made from the artist’s encounters with people met over the Internet.  The work, in fact, began with 

Tam’s collaborator ‘liking’ one of his prior videos posted online, and ends with the artist engaging in a 

mock life-drawing session.  Although in the video Tam plays the role of subservient muse, power dynamics 

are complicated by Tam’s desire to transform his collaborator’s initial act of passive voyeurism into the 

artist’s larger project.  

Kenneth Tam (b. 1982) received his MFA from USC in 2010 and his BA from Cooper Union in 2004.  

Tam has exhibited throughout the United States with solo exhibitions at PAULINE (CA) and the Roski 

Gallery (CA). His work has been written about in Frieze online, Gallerist NY, LA Weekly, X-tra, Fine Arts 

LA, and Art 21 online. 


For her Night Gallery debut, Katie Herzog reinterprets Gerard Richter’s “48 Portraits,” originally 

completed for the 1972 German Pavilion of the Venice Biennale.  Transtextuality (SB 48) continues 

Richter’s study of the learned portrait, however instead of choosing white men of letters as Richter did, 

Herzog selects forty-eight transgender leaders in the fields of science, philosophy, and literature.  In her 

title, Herzog also aligns her project with Senate Bill 48 signed by Governor Jerry Brown in 2011 requiring 

the inclusion of trans individuals in school textbooks. Herzog’s project, utilizing images from Wikipedia 

and other online sources, addresses transgender representation in the public sphere and aligns painting with 

interactive digital archives to investigate an aesthetic realm of social epistemology and create a new public 

document. In the process, the term “Men of Letters” is critically engaged to open dialogue surrounding 

gender, language, and the intellectual body. 

Katie Herzog received her MFA from UCSD in 2005 and her BA from RISD in 2001.  She has exhibited 

throughout the United States and Europe at venues such as Actual Size (CA), Rugters University (NJ), 

Oxford University (UK), Los Cienegas Projects (CA), and Vox Populi (PN).  Her work has been about in 

KCET Artbound, Book Arts Newsletter, LA Times, Daily Serving, and Sternberg Press. 

Night Gallery is located at 2276 East 16th Street, Los Angeles, CA 90021 | 323 589 1079 | 
Tues - Sat | noon - 7pm



June 6 — July 13, 2013

Blum & Poe is pleased to announce our fifth solo exhibition of Los Angeles-based artist Julian Hoeber, who continues his investigation of intuitive processes within geometrical compositional systems. The exhibition includes paintings, sculpture and installation and will examine the construction of a body in space and how consciousness is affected under varying physical circumstances.

Hoeber partitions the first gallery into two nearly identical halves. The first will contain paintings from Hoeber’s seriesExecution Changes with their strict mathematical configurations and lush color schemes and textures. The other side will present their misshapen, distorted twins. The pairs of paintings are created simultaneously, beginning with identical underlying structures.  However, Hoeber pushes his intuition and process so that the scheme begins to break down in the warped double. The divided gallery alludes to numerous dualities in how we conceive of the mind: conscious/unconscious, rational/irrational, and left hemisphere/right hemisphere.

The next gallery will debut an installation, which utilizes modernist forms to create a space that activates the uncanny. Viewers will enter a corridor with intense colored lights. As one progresses through the hallway, the walls become lined with mirrors. The interior chamber, which is completely mirrored, reflects and fractures the viewer’s sense of self to the point of disorientation. This small room will include a white noise machine, a hallmark of a therapist’s office, as well as a few plants and two chairs for people to engage in discourse. However, these allusions to comfort do not compensate for the overall uneasiness one feels in what Hoeber has dubbed a “self-consciousness machine.”

The exhibition will also include a sculpture made from a large, elegant table, which serves as a base for approximately fifteen self-portrait busts in differing deformed conditions. The heads sit on progressively higher pedestals in a stepped pattern. Although finely crafted, the grotesque heads serve as metaphors for other psychological references within the exhibition. The repetition of the initial self-portrait, prior to its mutilation, resonates back to repeated elements within theExecution Changes series and the reflected images of the “self-consciousness machine,” tying the works together in a heady psychological conundrum.

In conjunction with the exhibition, Blum & Poe is proud to publish Hoeber’s first monographic catalogue, the most comprehensive examination of the artist’s work to date. The book will include essays by the distinguished writers Douglas Fogle and Jonathan Lethem, approximately 70 images of current and past work, a checklist of the exhibition, and a complete bibliography. Copies will be available in October.

Julian Hoeber (b. 1974) holds a B.A. in Art History from Tufts University, a B.F.A from the School of Museum of Fine Arts, Boston, and an M.F.A. from the Art Center College of Design, Pasadena.  His work has been included in exhibitions at the Rubell Family Collection, Miami, FL; Western Bridge, Seattle, WA; Hammer Museum, Los Angeles, CA; Santa Monica Museum of Art, Santa Monica, CA; and Deste Foundation Centre for Contemporary Art, Athens.



T: +1 310.836.2062
F: +1 310.836.2104

NYC: TMW THE AFRIKA BAMBAATAA MASTER OF RECORDS OPEN ARCHIVE @ Gavin Brown’s Enterprise #GBE #GavinBrownsEnterprise #AFRIKABAMBAATAAMASTER #records #vinyl #JohanKugelberg #BooHoorayGallery



Gavin Brown’s enterprise 
620 Greenwich Street 
New York NY 10014 
July 11 – August 10, 2013 

Gavin Brown’s enterprise and Johan Kugelberg/Boo-Hooray Gallery, together with Afrika Bambaataa, the Universal Zulu Nation, and Cornell University Library announce the public archiving of one of the most important record collections in the history of hip hop: 

The Afrika Bambaataa Master of Records vinyl archive. 

From July 11 through August 10, Kugelberg and his team will be organizing, cataloguing, and documenting Afrika Bambaataa’s peerless vinyl collection at Gavin Brown’s enterprise, Monday through Friday between 12 – 5 PM. Visitors are encouraged to stop by, hear some great music and see how the cultural artifacts of this important strand of American history are preserved. 

Open archiving, like an archeological dig or a group of students viewing biological research in a museum, is an important and rarely seen part of the process of documenting history. Before the Afrika Bambaataa archive moves to its permanent home at Cornell University’s Hip Hop Collection in the Fall of 2013, Johan Kugelberg and Gavin Brown’s enterprise offer visitors a unique opportunity to experience what is arguably the most important gathering of vinyl in the history of hip hop while it is sorted, organized, archived (and DJ’d) in full view of the public. 

Please join the Afrika Bambaataa vinyl archive mailing list and follow us on Facebook and Twitter for announcements of visiting DJs playing selections from the archive during the sort. 

Join the mailing list here


Afrika Bambaataa is considered the godfather of hip hop culture and was instrumental in the rise of electro funk and break-beat deejaying beginning in the 1980s. His involvement with Bronx street gang the Black Spades in their transformation into community activists is legendary, as is his founding of the internationally known hip hop organization Universal Zulu Nation. Bambaataa is responsible for spreading and popularizing hip hop’s unmistakable sounds and beats alongside its culture throughout the world.

Originally from the South Bronx, New York, Afrika Bambaataa is among the most influential American DJs. 

Due to his early use and mixing of drum machines and computer sounds, Bambaataa created signature beats (such as his first widely popular single “Planet Rock” of 1982), which helped fuel the development of other musical genres such as Freestyle or Latin Freestyle, Miami Bass, Electronica, House, Hip House, and  early Techno. He has consistently made records nationally and internationally, spanning the 1980s into the  2000s. 

In 2012 Afrika Bambaataa was appointed to a three-year term as a Visiting Scholar at Cornell University,where his vinyl collection will reside as part of the Cornell University Library Hip Hop Collection, the largest  collection on Hip Hop culture in the world. 

Universal Zulu Nation Link 

Cornell Hip Hop Archive Link 

Bambaataa Visiting Scholar Link 

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LA: Post - Post - Anxiety : #PeterLindeBusk #JohnKnuth #FredTomaselli #EricWesley #PaeWhite #ThomasZipp @ International Art Objects Galleries #PostPostAnxiety #anxiety #InternationalArtObjects


Peter Linde Busk, John Knuth, Fred Tomaselli, Eric Wesley, Pae White and Thomas Zipp

International Art Objects Galleries is proud to present, 

Post - Post - Anxiety

Exhibition continues through August 3rd, 2013

Closing party August 3rd

6086 Comey Avenue Los Angeles, California 90034
323 965 2264