JUNE 21 - JULY 31, 2013
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.
THOMAS DUNCAN GALLERY
6109 MELROSE AVENUE
LOS ANGELES, CA 90038
T. 310 494 1177
LA:LA: Opening TMW #GRAPEVINE~ #MagdalenaSuarezFrimkess #MichaelFrimkess #JohnMason #RonNagle #PeterShire curated by #RickySwallow
3 x 6.25 x 2.5 inches
(7.6 x 15.9 x 6.4 cm)
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, 6:009:00pm
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 workin many cases recurring motifs span decades of object-makingand 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 Masonit 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:http://www.aaa.si.edu/collections/interviews/
GRAPEVINE~ will be accompanied by a forthcoming catalogue. Please contact the gallery for further details.
Elizabeth Bishop 1937
May 25th - June 29th, 2013
Overduin and Kite
6693 Sunset Boulevard / +13234643600 / overduinandkite.com
Tue - Sat 10am to 5pm
KENNETH TAM /// \\ KATIE HERZOG //// & \\ SARAH CROMARTY
Polite, intelligent and respectful
Transtextuality (SB 48)
Works in the Lounge by Sarah Cromarty
2276 E 16TH STREET, LOS ANGELES CA 90021 NIGHTGALLERY.CA
KENNETH TAM POLITE, INTELLIGENT AND RESPECTFUL
JUNE 29 – AUGUST 3
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
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.
KATIE HERZOG TRANSTEXTUALITY (SB 48)
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 | firstname.lastname@example.org
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.
TUESDAY - SATURDAY 10 AM - 6 PM
2727 S. LA CIENEGA BOULEVARD
LOS ANGELES, CALIFORNIA 90034
T: +1 310.836.2062
F: +1 310.836.2104
LA: CLOSING PARTY LAURA OWENS @ 356 S. Mission Road @oogaboogastore #oogaboogastore #lauraowens #356mission #closingparty
356 S. Mission Road
Los Angles, CA 90033
LA: S H I P W R E C K E D 6-10pm AMERICAN GRIZZLY, SO MANY WIZARDS, SPOKENEST, CHERRI POP, EMILY LACY, BATWINGS CATWINGS, FRENCH VANILLA @Night Gallery LA …
AMERICAN GRIZZLY, SO MANY WIZARDS, SPOKENEST, CHERRI POP, EMILY LACY, BATWINGS CATWINGS, FRENCH VANILLA, SNEAKY SNAKE, THUNDERBUMMER (FIRST SHOW), JAWS, DUNES, MATHEW TIMMONS, LESSNESSES, W-H-I-T-E, TALL PAUL and CAYAL with LA PORSCHA, AIR POP, MARGIE SCHNIBBE, GENEVA JACUZZI, YACHT (DJ SET) +MORE TBA
VENDOR FAIR WITH:
SODAS + SANDWICHES BY EDEN’S HERBALS
TAROT READINGS WITH SARAH FAITH
DELICIOUS BAKED GOODS BY CLARA CAKES
M R K N T A R O T
AMY VON HARRINGTON CAKES & GOODS
MARVIN ASTORGA TAROT
+ MORE TBA
VIDEO LOUNGE WITH VIDEOS BY:
+ MORE TBA
SHIPWRECKED T-SHIRTS FOR SALE WITH ART BY:
SCG (SALLY SPITZ, CHRISTINE WANG, and GUS HERRERA)
Night Gallery is located at 2276 East 16th Street, Los Angeles, CA 90021 | 323 589 1079 | email@example.com
Tues - Sat | noon - 7pm
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
LA: Wassup! Painters - #KerstinBrätsch #PaulCowan #CynthiaDaignault #LiamEverett #HenrikOlaiKaarstein #MollyZuckerman-Hartung @ Anat Ebgi #AnatEbgi #Wassup
Curated by Pavan Segal
June 8 - July 20, 2013
Henrik Olai Kaarstein
2660 S. LA CIENEGA BLVD
LOS ANGELES, CA 90034
Summer Gallery Hours:
Tuesday - Saturday, 11 - 5PM
Tel: (310) 838 - 2770
Anat Ebgi is pleased to present Wassup Painters, a group show organized by Pavan Segal featuring work by Kerstin Brätsch, Paul Cowan, Cynthia Daignault, Liam Everett, Henrik Olai Kaarstein, and Molly Zuckerman-Hartung. The show will open on June 8, and will be on view until July 20. A reception will be held at the gallery on Saturday, June 8 from 6-9pm, at 2660 La Cienega Blvd in Culver City.
Wassup Painters brings together contemporary artists who approach painting through the use of nontraditional materials and innovative processes as a way of exploring new conceptual ground. Painting as a medium has a long and rich history and recent trends have focused on exploring and reinterpreting what has come before. In some contrast to this, Wassup Painters highlights artistic practices that push the possibilities of the medium into unexpected realms, blurring the boundaries between painting and other forms of object making.
The exhibition title references Larry Clark’s 2005 film Wassup Rockers, which features a group of Latino teenagers searching for identity in the racially diverse and ever changing South Central neighborhoods of Los Angeles. In the film, the teens are often mislabeled as “rockers” due to their long hair and black clothes even though they primarily self-identify as “skaters,” making them feel misunderstood in their own community. While many of the works in Wassup Painters have leanings toward painting, they could easily be perceived or labeled as other forms entirely, such as glasswork, photography, signage, deconstructed material, collage, sculpture, and fabric art. This show offers the opportunity to view works that have direct points of intersection with these forms of object making as a way of contemplating what comprises and defines painting, while asking what role context, intention, and expectation play in this process.
Kerstin Brätsch was born in Hamburg, Germany. She received Her MFA in 2007 from Columbia University. Solo exhibitions include Gavin Brown, New York and Balice Hertling, Paris. Select exhibitions include Kölnischer Kunstverein, Cologne (with DAS INSTITUT), Kunsthalle Zurich (with DAS INSTITUT), The 54th Venice Biennial (with DAS INSTITUT), MoMA/ PS1 (with DAS INSTITUT), Sculpture Center, New Museum, New York, Museum of Contemporary Art, Chicago, and Museum of Contemporary Art, Los Angeles (with DAS INSTITUT). She lives and works in New York.
Paul Cowan was born in Kansas City, MI. He received His MFA in 2012 from University of Illinois at Chicago. In 2012, Cowan mounted a solo exhibition at the Museum of Contemporary Art, Chicago. Solo exhibitions include Clifton Benevento, New York, and Shane Campbell, Chicago. Recently, his work has been included in group exhibitions at Kavi Gupta, Berlin, James Cohan Gallery, New York, and Thomas Duncan Gallery, LA. His work has been reviewed in Modern Painters, Kaleidoscope, Mousse Magazine, and Art Forum. He currently lives and works in Milwaukee.
Cynthia Daignault was born in Baltimore, Maryland. She attended Stanford University, and was a MacDowell Colony Fellow in 2010. She was invited for a solo exhibition at White Columns in 2011, which received a review in the October 2011 issue of Artforum. Solo shows include Lisa Cooley, New York and group shows at American Contemporary, New York, and Bureau, New York. Daignault is a recipient of the 2011 Rema Hort Mann Foundation Grant. She currently lives and works in New York.
Liam Everett was born in Rochester, NY. He has had solo shows at Altman Siegel, and Romer Young Gallery in San Francisco, Paul Kasmin Gallery, New York, and White Columns, New York. He has been included in group shows at 303 Gallery, New York, Canada, New York, Josh Lilley Gallery, London, and Wattis Institute, San Francisco, CA. In 2012, he received the Fellowship Award for the Artist in Residence program at Headlands Center For the Arts. He currenty lives and works in San Francisco, CA.
Henrik Olai Kaarstein was born in Oslo, Norway. He currently lives and works in Frankfurt, Germany. Solo exhibitions include T293, Rome, FIAC Paris, Holodeck, Oslo, D’Amelio Gallery, New York, and Leonhardi Kulturprojekte, Frankfurt. His work has been written about in New York times, Flash Art (Italy), and Artforum. He currently studies at Staatliche Hochschule fur Bildende Kunste Staedelschule, in Frankfurt Germany.
Molly Zuckerman-Hartung was born in Olympia, WA. In 2012, she presented her first solo museum show the Museum of Contemporary Art, Chicago. Recently, she was invited to participate in the group show, Painter Painter at the Walker Art Center. Molly is represented by Corbett vs Dempsey, Chicago. She teaches painting and drawing at the school of the art institute, and Northwestern University, and is co-founder of Julius Cesar, an artist run exhibition space in Chicago. She currently lives and works in Chicago.
the United States and Western Europe. This exhibition is slated for 2014 and will take place in Berlin.
Pavan Segal, M.D. is a child and adolescent psychiatrist that specializes in working with mentally ill teenagers and is a professor of clinical psychiatry based in Chicago. He has broad interests in contemporary art and is an independent curator, collector, and has collaborated with a number of artists on various projects. His interest in art focuses primarily on the role that experience, context, ideas, and personal psychology play in the production and interpretation of art. He most recently organized a group exhibition in the Summer of 2012 involving fourteen artists working across all mediums at D’Amelio Gallery, New York. This exhibition entitled, “Idea is the Object” focused on the early philosophical writings of John Locke and examined the role that experience plays in the conception of ideas and how this functions to facilitate the production of art objects and the perception of such works. This exhibition received a number of very favorable reviews including a large review in the New York Times by Roberta Smith. The next show that he is working on is entitled, “The Atlantic Effect” and will aim to compare and contrast the role and influence that regional histories play in artistic practices within
LA: “ILLUMINATIONS” CURATED BY #MATTHEWHIGGS #CAROLBOVE #VIRGINIAOVERTON #ANDYCOOLQUITT #MATTHEWPAWESKI #MARTINCREED #NOAMRAPPAPORT #JACKJAEGER #JOSEFSTRAU #MARGARETEJAKSCHIK #JIMWELLING #LUCASKNIPSCHER & #WINMcCARTHY #AMYYAO #JASONMEADOWS @ #RichardTellesFineArt
JUNE 29 – AUGUST 10, 2013
Opening reception is Saturday June 29, from 5 to 7pm
In 2010 I was invited to make a proposal for a group show for a prominent New York
commercial gallery. I proposed an exhibition entitled ‘Illuminations’ that - for a number of reasons – never
came to be. The exhibition would have brought together artworks – made at very different times, and for
very different reasons – that included a light source. The title ‘Illuminations’ alluded to the tradition in British
seaside towns of public light displays presented along the seafront during the out-of-season months.
(Imagine a low-fi take on the Las Vegas strip only in a subzero British winter.) I can clearly remember
annual family trips in the 1970s to the British seaside town of Blackpool to witness these nocturnal
spectacles. For the exhibition I was interested in the idea of ‘light’ not so much as an illuminating or uplifting
force, but rather as a somewhat melancholic, even pessimistic condition.
The current exhibition ‘Illuminations’ at Richard Telles is not the exhibition I proposed in 2010, but it is
informed by and related to it. It also brings together very different works, made by very different artists and
for very different reasons. It includes not only works that incorporate a light source but also works that are
images of light sources. Central to the installation is Martin Creed’s self-explanatory 2001 piece ‘Work No.
270 – the lights off’. For the duration of the exhibition the overhead lights that normally illuminate the gallery,
reception, office and storage areas at Richard Telles will be switched off. Consequently the exhibition will be
lit only by daylight and any ambient light generated by the individual artworks, creating in turn a constantly
shifting ‘mood’ in the gallery, one informed by the prevailing weather conditions or simply the time of day.
That all this takes place during a Los Angeles summer is, of course, partly the point. ‘Illuminations’ might
ultimately be thought of as a rejoinder to Southern California’s unforgiving flat, Hockney-esque light and to
the inherent optimism associated with its relentless blue skies.
- Matthew Higgs, April 2013.
Richard Telles Fine Art
7380 Beverly Boulevard / +13239655578 / tellesfineart.com
Tue - Sat 11am to 5pm