Professional Documents
Culture Documents
NT AM
EM ER
PO ICA
RA N
RY
AR
T
JANU
ARY
2011
JANUARY FEBRUARY 19 - APRIL 30
Paintings
Drawings
Jordi Alcaraz
Prints Hannelore Baron
Romare Bearden
Sculpture Hans Burkhardt
Joseph Cornell
Jim Dine
Claire Falkenstein
Llyn Foulkes
Mathias Goeritz
Patrick Graham
also George Herms
Freindensreich Hundertwasser
Edward Kienholz
Marca-
Conrad Marca-Relli
Robert Motherwell
Louise Nevelson
Gordon Wagner, “Construction,” 1950 , 45 x 19 x 11 1/2 inches
20 January — 26 February.
FEATURES EXHIBITIONS
Korean Art in Los Angeles 22 30 Los Angeles
Herbert Bayer: Bauhaus & Beyond 24 35 San Francisco
36 New York
COVER 39 Philadelphia
Abland - Ulf Puder 36 39 Boston
2010 - oil on canvas - 83” x 59” 40 Washington
41 Santa Fe
41 Tucson
41 Scottsdale
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Content courtesy of represented institutions.
Alexander Kroll
Unfoldings
January 13 - February 20, 2011
www.cb1gallery.com
213-806-7889
gallery@cb1gallery.com
Gallery Hours:
Wednesday - Sunday, noon - 6 p.m.
Thursday & Friday open until 7:30 p.m.
EDWARD CELLA
ART + ARCHITECTURE
Lora Schlesinger Gallery
BRUCE HOUSTON
NEFERTETES, TRUCKS &
ASSEMBLAGES
East Gallery:
monochromes
w w w . l o r a s c h l e s i n g e r. c o m
2525 Michigan Ave. T3 Santa Monica CA 90404 t (310) 828 -1133 gallery@loraschlesinger.com
EskE kath
thErE arE housEs EvErywhErE
January 8 – FEbruary 12, 2011
opEning rEcEption January 8, 2011 7-10pm
).'82/+0'3+9-'22+8?
)./4':5=4259'4-+2+9
975 chung king road Los angELEs, ca 90012
www.cjamesgallery.com o (213) 687-0844
info@cjamesgallery.com F (213) 687-8815
Ahn-Nyung | Hello IntroduCtIon to Korean Contemporary art
January 22 – February 19, 2011
Opening receptiOn January 22, 2011 | 7pm – 10pm
www.riveragallery.com
RUTH BACHOFNER GALLERY
Bergamot Station Arts Center Unit G2 Santa Monica, CA 310 829 3300 www.ruthbachofnergallery.com
DAVID KAPP
New Paintings
EmbarrassmEnt 2: thEory
through February 10, 2011
Ahn-Nyung | Hello is an exhibition of 15 multimedia organic matter reinterpreted anachronistically (Seok Kim’s
works by four Korean artists exploring the conceptual and wooden robot sculptures) and unexpectedly (Yeonju Sung’s
visual currents igniting the Korean contemporary art scene photographs of haute couture designs constructed from a
today. Curator Jae Yang is the founder of Art-merge, a Los variety of common foodstuffs). In contrast is Paperwork,
Angeles-based consultancy that supports emerging artists. the companion exhibition in the gallery’s project room.
Drawing on seven years of introducing cutting-edge con- Where Ahn-Nyung | Hello embraces postmodernity’s frag-
temporary work to the American art market, Yang mines mented, disparate luster, Paperwork evokes tradition and
the vanguard of South Korea’s dynamic gallery scene to de- continuity in its presentation of contemporary work made
liver the American audience an unprecedented survey of from Asian art’s most fundamental media—ink and paper.
works that are as effusive in their naiveté as they are ex- Taken together, Ahn-Nyung | Hello and Paperwork operate
pansive in their aesthetic achievement. As a whole, Ahn- in dialogue with one another to offer an engaging and chal-
Nyung | Hello uncovers a culture in transition: memories lenging overview of Korean contemporary art.
are mutable, synthesis abuts tradition, and experience is
subject to a regimen of creative re-envisioning. Featured Jin Young Yu’s work depicts the outsider longing to be in-
artists include Hyung Kwan Kim, Seok Kim, Yeonju Sung, visible—the fly on the wall or the observer seeking to go
and Jin Young Yu. A companion exhibition, Paperwork, will unseen. Artist handiwork meets the commercial perfec-
take place in the gallery’s project room, featuring works on tion one would usually expect from the likes of Koons or
paper by artists Kim Eull, Tae Heon Kim, Kakyoung Lee, Murakami, as Yu constructs her figures from a ultra-trans-
and Yong Sin. In Ahn-Nyung | Hello, the artists utilize a parent PVC and hand cast and painted plaster. The result-
range of media to explore a rapidly changing society, work- ing sculptures explore the dynamics of social anxiety and
ing with either synthetic materials (Hyung Kwan Kim’s expectation through a semi-apparent cast of subjects who
plastic tape reliefs and Jin Young Yu’s PVC sculptures), or are somber, withdrawn and exquisitely unapproachable.
Feature 23
Herbert Bayer: Bauhaus by Hugo Anderson
Feature 25
with two pre-war ski runs. Paepcke and Bayer were instru- just an art director, contributing in management decisions,
mental in initiating the changes that would make Aspen a including the design of buildings and interiors.
cultural oasis in the 1950’s and beyond. The Aspen Institute The Great Ideas of Western Man was a Herbert Bayer
for Humanistic Studies was founded by Paepcke in 1949, advertising campaign of the 1950’s and 60’s. These ads had
with Herbert Bayer working as architect and design consul- no sales message, again working on the concept that a good
tant. He designed a complex of buildings for the institute, corporate image was also good for business. The ad con-
integrated within the natural landscape of the mountain cept was an out- growth of discussions at the Aspen Insti-
valley. In 1955 he created a work called grass mound, a for- tute for Humanistic Studies.
ty foot grassy place for relaxation, years before the concept The Institute worked to bring business executives and
of “earthworks” became popular. He also created marble managers together to discuss ideas in a relaxed setting and
garden using discards from an old marble quarry. In 1963- a cultural environment. The Aspen Institute was as respon-
64 he designed a new tent for the Aspen Music Festival. sible for putting Aspen on the world map as was skiing. It
With his return to mountain living, mountains and was also a great concept for expanding the year past ski sea-
contour map elements began to emerge in his artwork from son, with many of its programs in the summer months.
the late 1940’s on, as in his lithograph mountains and lakes It was through connections at the Aspen Institute that
(1948). He designed a series of ski posters, including ski Bayer met Robert O Anderson, founder of Atlantic Rich-
broadmoor (1959). In 1953 the Container Corporation field Oil Company. In the early 1950’s they became friends;
published world atlas with graphics designed by Herbert Anderson bought Bayer’s house in town when Herbert
Bayer. His goal was to put together an atlas with clean moved his studio onto Red Mountain, overlooking Aspen.
graphics that was easy to read. The interaction between fine Along with the house, Anderson also began to buy artwork
art and commercial art again shows in Bayer’s paintings and by Bayer, providing the beginning of a relationship of pa-
prints with continuing use of weather related symbols, such tron and friend that would last until the end of Bayer’s life.
as arrows, flow charts and contour maps. After Walter Paepcke’s death in 1960, Bayer began working
The Container Corporation employed the talents of for ARCO as an art and design consultant, starting in 1966.
Man Ray and Fernand Leger as well as Bayer in the late Bayer oversaw the design of corporate offices in New
1930’s. It was their concept that through good design, cor- York and Philadelphia, as well as Los Angeles when the cor-
porations could influence good taste and profits. Bayer, porate headquarters moved there. He designed the artwork
with his Bauhaus ideals, was a natural to work in this col- for ARCO Plaza in Los Angeles: double ascension, two
laboration of art and industry. In their ads, text was limited linked staircases in a pool of water. He also advised ARCO
to fifteen words of copy in order to put the emphasis on on the development of its large corporate art collection and
visual images. Lengthy texts were out; clean copy was in. the performing arts programs it sponsored. He designed
Advertising was seen as good public relations with consum- carpets and tapestries for the corporate offices.
ers and buyers at other corporations. Bayer used collage He designed a sculpture for the 1968 Olympics in Mex-
and photomontage, elements from his fine art, in his early ico City. A similar sculpture resides at the Design Center in
advertisements. He became chairman of Container Corpo- Denver, Colorado. He also developed a seriesof sculptures
ration’s Department of Design in 1956. He was more than for ARCO that were designed to hide/beautify the Philadel-
Feature 27
BLEICHER GALLERIES
BGartDealings.com
info@bgartdealings.com
BG Gallery [Bleicher/Golightly] 1431 Ocean Avenue, Santa Monica, CA 90401 (310) 878-2784
EXHIBITIONS
LOS ANGELES
Nigel Cooke Nigel Cooke's paintings — "hybrid theatri- whim or their own bacchanalian excesses,
Blum & Poe Los Angeles cal spaces" as he has called them — often for them there is no escape. Cooke de-
[through Feb 12] depict fantastic graffiti-strewn architecture scribes his reworking as a vision of "provin-
and supernatural landscapes. Rendered in cial philosophy lecturers sailing to Ibiza for
a naturalistic style that bounces back and a rave," yet falling prey to a disastrous reck-
forth between affirmation and complica- oning en route in which only one "thinker"
tion of the canvas surface, Cooke's paint- makes it to land. Cooke imagines this avatar
ings hover in the vicinity of landscape, still of hubris washed up in more ways than one,
life, portraiture, and narrative tableau with- dragging himself and his wreckage onto
out ever touching down. His current paint- strange shores to begin the process of re-
ings similarly flirt with and confound an- building and reflecting. The other paintings
other painting tradition, the "figure in the in the exhibition continue to present scenes
landscape as allegory." Departure, Cooke's of thickly bearded "Master chefs", sailors,
three-panel centerpiece is a self-aware take artists, and philosophers as they navigate
on the German artist Max Beckmann's the dystopian environment in which they
1933-1935 triptych of the same title. In find themselves. This psychic landscape is
Beckmann's painting, images of torture peopled by dredged-up corpses, ancient
Nigel Cooke, Washed Up Thinker, 2010, Oil on
linen backed with sailcloth, 87” x 77”.
and brutality bookend a central panel in philosophers and burnt-out fry cooks, all
which a dignified family sails to salvation. overshadowed by the decaying specter of
In contrast, Cooke's figures hang in the end factory buildings that echo modernist geo-
Sol LeWitt panels pathetic, comedic, and tragic all at metric painting. These haunting portraits
LA Louver Venice once, while in the central panel they writhe model failure, but also artistic production
[through Feb 26] and wretch in a boat, tossed about on a dark in the face of peril and creativity on the
ethereal sea. Whether abused by nature's verge of existential self-immolation.
Sol LeWitt (1928-2007), a pioneer of mini- first floor. Dated October 1989, the draw-
mal and conceptual art in the 1960s and ings are from the artist’s 620 series, with
1970s, achieved a major breakthrough in forms derived from cubic rectangles and
his work in 1968, when he began employ- superimposed color ink washes. These were
ing predetermined line-making proce- installed in the Galeria Juana de Aizpuru,
dures and materials usually associated with Madrid, Spain in October 1989, and have
drawing or commercial art techniques. He not been exhibited since that time. The wall
used this method to execute large-scale drawings were over three weeks, employing
drawings directly on the wall. In 1980, a four L.A.-based artists, working with, and
variety of geometric shapes emerged as directed by, Gabriel Hurier from the Sol
autonomous subjects, which in turn led LeWitt Estate. LeWitt’s renowned modular
LeWitt to isometric projections in 1982. structures originate from his exploration of
By dividing the sides of the basic cube the cube, which was the form that inspired
into halves, thirds and quarters, and con- him throughout his career. Works in the ex-
necting the resulting dividing points with hibition range from seminal squares from
lines, LeWitt transformed planar figures the ‘70s and ‘80s to the artist’s division of
into three-dimensional forms. This exhibi- the cube through triangulation. It will be
tion, Sol LeWitt: Structures, Works on Pa- rounded out by large-scale works on pa-
per, Wall Drawings 1971-2005, will address per, executed in gouache. Comparing the
the artist’s investigation of the cube – the gouaches to his wall drawings, LeWitt stat-
basic modular unit of inquiry throughout ed that only he could make the gouaches,
Sol LeWitt: (top) Structure with Three Tow-
his art practice – with a focus on triangula- which “followed their own logic,” whereas
ers, 1986, wood painted white, 48.75”x121.5”x
48.5”; (bot) Pyramid #10, 1985, wood painted
tion. Four of the artist’s wall drawings will the wall drawings “have ideas that can be
white, 79.87”x 47”x 37.5”. Courtesy of LA Louver. be presented in a dedicated gallery on the transmitted to others to realize.”
More than or Equal to Half of the Whole, a zona), alongside "faked" astrophotographs
two person exhibition of photography by (evidenced by such titles as Lightbulb with
Kate Johnson and Siri Kaur, is a vivid explo- Sunspots Made by Hand), and a single
ration of both the power and the illusion of diptych. After shooting the initial frames,
Kroll, 2010: (left) Untitled, oil, egg tempera, and
the photographic medium. The exhibition Kaur exacts a battery of darkroom "experi- ink on panel, 10”x8”. (right) detail of Untitled,
examines the awe, dislocation and limita- ments" on her work by applying color filters oil and egg tempera on linen over panel, 12”x5”.
tion inherent in photographic practice. Il- and chemical drawings to both the photo
lusion and limitation play a central role in negatives and positives. By manipulating Kate Johnson & Siri Kaur
Kate Johnson's work in a series she calls the printing process, Kaur effectively dislo- Garboushian Beverly Hills
More Than Or Equal To. For each of these cates the signified from the signifier - dis- [through Feb 12]
infinity portraits - self-aware photographs tinguishes what is represented from what
that attempt to capture the concept of in- might represent it - as her images transform
finity - Johnson constructs a small glass from distant celestial objects into light and
and mirror diorama which she then photo- ultimately back into physical form, albeit
graphs. There is a sheer, crystalline beauty much smaller, within the gallery. Rounding
in each of these prismatic pieces, even as out the series, and further illustrating her
they wryly admit to the illusion that infinity penchant for aesthetic awe and print ma-
and depth are being rendered falsely with- nipulation is Kaur's stunning diptych of the
in a finite, two-dimensional work space. Aurora Borealis, fittingly titled (in the de-
Johnson's hall of mirrors visual trick (in scriptive vernacular commonly associated
which images repeat endlessly against one with late 20th century photography), On (above) Kate Johnson, Untitled #14, 2010, from
another) purposefully calls attention to it- the Left, Aurora Borealis, White Horse, Yu- series More Than Or Equal To, 1 of 3, Lambda
print mounted on aluminum, 34”x40”. (below)
self through the repeated appearance of her kon, March 31 2008, 235 AM. On the Right, Siri Kaur, On the Left, Aurora Borealis, White
Horse, Yukon, March 31 2008, 235 AM. On
camera lens (as well as the green-blue edges the Way I Wanted It to Look (see below). the Right, the Way I Wanted it to Look, 2008,
Diptych 1 of 3, Chromogenic print. Each 30” x 38”.
of the glass) throughout the photographs.
Paired loosely in dark and light opposites,
these photographs intrigue aesthetically
and entertain conceptually. In pursuit of
a profound sense of the sublime, and play-
ing, like Johnson's work, with the dynam-
ics of perception, illusion, and immeasur-
able scale is the Half of the Whole series by
Siri Kaur. This series features a number of
extra-galactic photographs (taken between
2007-2010 using a digital sensor attached to
a Meade solar telescope on Kitt Peak in Ari-
Exhibitions 31
EXHIBITIONS
Margie Livingston Margie Livingston has long been admired ingston has moved away from working
Luis de Jesus Santa Monica for her abstract paintings that articulate the with the illusion of space and toward work-
[through Feb 26] interaction between the architectural grid ing with literal space, constructing objects
and the natural, organic world. Based on that straddle two media — painting and
three-dimensional models that she builds sculpture. Like her earlier canvas paintings,
in the studio (perspective grids crafted out which were an accumulation of multiple
of string and wood around branches and gestures and parts, Margie Livingston’s new
twigs) her paintings directly translate the paint objects can be seen as a calculated
phenomena of space, light, color and grav- decision on her part to show her process
ity upon these hybrid structures into lines and to “reveal how I got from one point to
and bands of color that hang seemingly the next…building a concrete relationship
suspended in space. Now, letting accident between each part and the whole.” Her
and discovery meet invention and experi- goal to create an equivalent sense of light
mentation, Livingston reverses her usual and space with minimal means (“especially
process, using paint to construct objects. when a daub of paint is referencing a bit of
Her new paint objects—built entirely from air in the middle of the room”), asserts its
Margie Livingston, Study for Spiral Block 3,
dots, strips, and skins of dried acrylic pig- emphatic physical presence in the form of
2010, acrylic, 5.75” x 6” x 6”. ment—investigate the properties of paint paint objects suspended from the ceiling,
pushed into three dimensions and offer a attached directly to the wall, or as solid
compelling view into how the medium of cube, slab, or egg-like forms installed on
paint can be used sculpturally. With this work tables and pedestals.
“After the Rain” major transformation of her practice Liv-
Carmichael Culver City
[through Feb 5]
After The Rain, a group exhibition featur- porary perspective. Sexual and temporal
ing Boogie, Guy Denning, Aakash Nihalani politics, objectification, and isolation are
and Pascual Sisto, merges and contrasts illuminated through carefully honed con-
the palettes of four artists who work in a trasts of shape and shade. His will present a
range of media. The precise neon color series of oils on canvas. . He lives and works
sculptures and abstract mixed media can- in Finistère. Aakash Nihalani has fashioned
vases of Aakash Nihalani highlight the raw, a visual language all his own. The neon in
candid nature of Boogie’s black and white his work highlights details that might oth-
photographs, while Guy Denning’s dark erwise go unnoticed, while his minimalist
portraits, built with indulgent layers of patterns form self-contained pockets which
oil paint, situate Pascual Sisto’s video and encourage examination both within the
sculptural works in a new contextual light. isolated space and of the world at large. His
As a photographer, Boogie is singular in work often engages the public by creating
his ability to remove his presence as the three-dimensional environments that can
mediator between the subjects of his work be physically entered, transforming pass-
and those viewing them from without. His ersby or gallery visitors into participants
illumination of the complexity of the hu- and offering them a momentary escape
man condition without the imposition of from daily life. He will present new sculp-
his own ego or ideologies presents a more tural works from his Optiprism series, as
compelling foundation for the contempla- well as new works on canvas. He lives and
tion of his weighty subject matter and the works in Brooklyn. Los Angeles-based
socio-economic, philosophical and emo- Pascual Sisto’s works, which include neon,
tional currents that press from beneath. video, photography and text-based series,
He will present a series of black and white reassess and recontextualize a range of
photographs. He lives and works in Bel- historical dialogues that have been instru-
(top) Boogie, Train To Bushwick, 2005, silver
grade. Guy Denning’s enigmatic portraits of mental in shaping both contemporary so-
gelatin print, 20”x24”. (middle) Guy Denning,
Jocelin’s Nail, oil on canvas, 36”x36”. (bottom)
androgynous figures possess a strange and ciety and his own artistic practice. He will
Pascual Sisto, Ne Travaillez Jamais (Never often ethereal beauty, blending the smooth- present a video installation, amongst other
Work), 2010, neon light installation based on situ-
ationalist graffiti in Paris, May 1968, 33” x 82”. ness of classical form with a blunt contem- works, in one of the gallery’s project rooms.
Anthony Pearson's sculptures and photo- increased conceptual reach. Corresponding Anthony Pearson
graphs are, on the one hand, records of a developments can be seen in new examples David Kordansky Los Angeles
studio practice dedicated to non-represen- of Pearson's trademark 'arrangements', [through Feb 5]
tational mark-making and the pursuit of which combine photographic elements
free aesthetic movement; on the other, they with bronze sculptures made from castings.
are the elements of a vocabulary designed The 'arrangements' are powerful examples
to systematize the irrational and inexpli- of instances in which Pearson applies cu-
cable facets of artistic endeavor. For the ratorial logic to the results of idiosyncratic,
first time, Pearson has created large-scale even hermetic, processes. The relationship
steel sculptures whose forms are derived between the pictorial and the physical is
from two of these photographs. Composi- also explored in a series of small bronze
tions originally made with ink and brush wall-based sculptures. Created using molds
have undergone a complete alchemical made from shaped clay forms, these works
transformation, passing through the pho- mark the first time that Pearson has hung
tographic process to become templates for objects directly on the wall, as well as the
three-dimensional objects in space. Until first time that he has exhibited bronzes
now, photography has served as a way to without photographs.The work is not only
Anthony Pearson, Untitled (Transmission),
create conceptual distance between the act a study of the alchemical relationships be- 2010, steel, patina, sandblasted white Portland
cement, 81” x 70” x 30” unique.
of making non-representational compo- tween materials, but an ongoing record of
sitions and the act of displaying them in competing forces at play in the studio. As
the context of other artworks. Here, how- such, Pearson's practice represents the fur- Luis Cornejo and
Andriy Halashyn
ever, photographs have been cycled back thering of a tradition exemplified by fig-
SALT Laguna Beach
through the studio practice, and have led ures as diverse as John Cage, Jackson Pol-
[through Feb 28]
to an expansion of physical scale, the ad- lock and Bruce Nauman, one based in both
aptation of new technical procedures, and pragmatic and rigorous experimentation.
Luis Cornejo paints with cheek. He dons in Berlin and top awards from the Museum
pretty young things with Mickey Mouse of Art of El Salvador. Wedding pop and
ears, tails, clownish caps and surrealisti- hyperrealism, Andriy Halashyn’s dys-
cally long hands, marring their exquisite topic dreamscapes juxtapose moneyed
beauty. By using slapstick and coarse dis- beauty with ruin, waste and contamina-
tortion, Cornejo challenges our idea of per-
tion. His canvases tell a tale of two cities
fect beauty and our tedious worship of it.
in the optic language of a deadpan and
Cornejo has had sold out many shows and
has exhibited individually and collectively painterly pop. Ukranian born but living
in Nicaragua, Panama, El Salvador, Mexico, and working in Costa Rica for over ten
Canada and Germany. His work continues years, Halashyn brings a cosmopolitan
Andriy Halashyn. Baby Garbage,
to take off, with a one year paid scholarship sensibility to his lush paintings. 2010, oil on canvas, 39.5”x32”.
For more than 40 years, Olivier Mosset has nality of the painting. Following his affili- Olivier Mosset
challenged the historical notion of paint- ation with B.M.P.T., Mosset has become a Christopher Grimes
Santa Monica
ing as an art object. Beginning with his in- pivotal figure in artistic practices span-
[through Mar 5]
volvement in B.M.P.T. (a Paris-based group ning monochrome, abstract and 'Neo-Geo'
of painters active during the mid-1960s painting. By employing variations on col-
consisting of Daniel Buren, Mosset, Mi- or, size, paint application, format and the
chel Parmentier, and Niele Toroni), Mosset stretch of the canvas, Mosset has continued
sought to question authorship and democ- questioning the preconceived notions of
ratize art through "radical procedures of what constitutes a painting. Collaboration
deskilling". As each artist became identified remains an integral aspect to his practice.
with a specific composition, the members For this exhibition Mosset will collaborate
of the group would then sign each other's with Vincent Szarek and Jeffrey Schad by Jeffrey Schad, Rootbeer Bike,
work thus calling into question the origi- exhibiting their custom motorcycles. 2004, custom. 96 in3.
Exhibitions 33
EXHIBITIONS
Josh Peters For his exhibition Furious Seasons, Los frequently, especially in larger scaled work,
Kaycee Olsen Los Angeles Angeles-based artist Josh Peters mined still linen), and in either case, luminous with a
[through Feb 12] images from obscure films and drew inspi- glow that seems to emanate from within,
ration from a short story by the author Ray- irradiating both its subjects and whatever
mond Carver, the title of which Peters uses space it happens to inhabit, including the
for his show. These most recent paintings viewer's own interior space. Most of this
can be described as both portrait-mask- material falls loosely into a category we
icons and figures-in-landscape paintings. might label mood or atmospheric, with a
Figuratively, the subjects are mainly taken few qualifiers. Peters is clearly looking for
from films, albeit mostly obscure with little certain conditions, the “incident” or its po-
inherent 'iconic' value associated. Peters tentiality, the possibility of creating a cer-
makes references to figures "away from tain, transformative moment, of commu-
civilized society," or, more ambiguously, nion between subject and artist and viewer.
"a sense of impending violence or spiritual This is not a narrative style, the spaces of
awakening lurking just under the surface." these paintings are transparently abstract,
In Peters' recent work, these polarities reg- existential, but almost quintessentially lyri-
ister side by side, beneath surfaces both cal. [Accompanying this exhibition is a
saturated and scraped to the canvas (or catalogue featuring an essay and interview.]
SAN FRANCISCO
Remembering, works from the estate of Den- written about
nis Leon, include many of the artist’s semi- Dennis Leon,
nal sculptures and drawings. Two bodies of his life and
drawings, Dedicated to my Father (1984), work, it seems
and Thicket’s (1994), are brought together best to offer a
along with wood and bronze sculpture few insights
fromt he same time frame. Although some from those
years separate the making of these draw- voices. he
ings, they coalesce into a powerful, reflec- London-born
tive exhibition. Dennis Leon’s work reflects artist seeks a simple statement of unity in Dennis Leon: (left) Dedicated to my Father
#7, 1984, pastel on paper, 30.25”x44.50”;
his youth on the Yorkshire Moor’s, with it’s his works, which is rooted in landscape (right) Heelstone, 1990, wood, saw dust, paint,
38”x40”x29” Courtesy Patricia Sweetow Gallery.
mix of Celtic stone monuments throughout and memory. The anonymity in his works
the countryside. The work is also resonant is intentional: “it’s not like the uniqueness Dennis Leon
of his adopted home, with it’s rich com- of individuality. I tend to make things that Patricia Sweetow San Francisco
plexity of nature and artifice. With so much look like no-one made them.” [through Feb 12]
This exhibition of works by Italian painter tions and create unexpected variations in
Marco Casentini
Marco Casentini will feature the artist's surface and texture. Casentini's seemingly
Brian Gross San Francisco
signature geometric abstractions, com- non-objective works are actually the artist's
[through Feb 26]
posed of overlapping rectangular shapes translations of his emotions and environ-
in intense, saturated colors. Working in ment. Each painting is inspired by a feeling,
acrylic on canvas, Casentini continues his place, or memory, expressed through color
investigation of color and shape in limited and composition. In large monochromatic
palettes of red, blue, white and silver. In canvases, subtle variations in tone give the
each work, the artist incorporates painted paintings a contemplative, emotive quality.
plexiglass panels attached to canvas, adding In contrast, the largest work in the show
a physical dimension to the paintings. The features blocks of multiple hues arranged in
clean, hard edges of the plexi blend seam- an energetic composition that echoes both
lessly into Casentini's geometric composi- urban architecture and natural landscapes.
Having refined her practice over a period to foggy horizons or waving fields of grain,
Marco Casentini, The Bridge on the Sea,
of four decades, New York artist Max Cole and in the next falling flat on the canvas’s 2010, acrylic on canvas, 51”×51”.
has earned a reputation as a premier prac- surface. This allusion to landscape is be-
titioner of reductive painting with a con- fitting of an artist who was raised on the
sistently and highly recognizable aesthetic. plains. Horizontal, unpopulated landscapes Max Cole
Haines San Francisco
Employing a subtle palette of black, white, are as much a part of her visual lexicon as
[through Feb 12]
and shades of grey, this new body of work is Native American thought (Cole main-
includes a selection of gem-like small-scale tained a close relationship with her pater-
pieces as yet unseen here in San Francisco. nal Grandfather, who was half-Cherokee),
From a distance, Cole’s works appear to be and indeed, her works evolve from the ide-
composed of simple bands of color. But al of harmony with nature, which is at the
upon closer inspection, these horizontal heart of that culture. Cole’s work has been
bands reveal intricate patterns of short, ver- described as obsessive, but she prefers the
tical hatch marks consisting of alternating term passionate, as it is self-determination
colors. What at first appears devoid of the rather than compulsion that urges her to-
human hand reveals itself as an accumu- wards creation and completion. Cole does
lation of subtle imperfections. The stripes not rely on a preconceived plan; the work
seem to vibrate, at one moment alluding unfolds through time and rigorous process. Max Cole, detail of Briscone Pine,
2010, acrylic on linen, 33” x 49”.
Exhibitions 35
EXHIBITIONS
Tunnel Vision, a show by Los Angeles- is usurped by the message of unity, solidar-
based artist Christian Vincent, consists of ity and conformity. In Line Up, viewers are
eight large-scale oil paintings, in which the met with a descending row of young boys
artist deconstructs notions of the collective. that cuts a sharp diagonal across the canvas.
In comparison with Vincent’s previous The convergence point on the horizon is
body of work, Tunnel Vision is notably re- eliminated, hinting at the infinitesimal con-
duced in palette, line, and narrative. Even tinuation of the lineup. Despite the boys’
Ulf Puder: (top) Waldbad, 2010, oil on canvas,
71 “x 86.5”; (bottom) Abland [cover image],
the subject matter, while adhering to the petite forms, they are endowed with notice-
2010, oil on canvas, 83” x 59”. male figure, is more stark and streamlined. ably large heads, becoming cloned eugenic
Vincent is not concerned with mastering man-child hybrids. Their nearly eyeless fac-
anatomical expertise but rather with con- es speak of their blind faith in a figure that
Christian Vincent
Mike Weiss Chelsea veying a polemical undertone, and inten- could evoke as much spiritual benevolence
[through Feb 12] tionally leaves the works in contentious as it could mass destruction. Group devo-
balance, overlapping political propaganda tion is not meant to be outright rejected as
and pop culture. It is upon immediate en- much as challenged in these works. These
counter with the works that their massive scenes could be culled from a rock concert
scale divulges their confrontational under- or a cult gathering, a private boy’s school
pinning. Being larger than human size, the outing or a militia camp – all of which are
boys depicted in the canvases are turned unified in the worshipping of a messianic
into monumental objects that intimidate, figure to which the masses turn to for salva-
demand attention and inspire awe. The tion and guidance. The desire for empow-
paint is thick but flat, as Vincent carefully erment through belonging, while seductive,
sands down the remnants of his brushwork, is hinged on the acceptance that a person’s
thereby symbolically removing his finger- dream would inevitably be sacrificed for a
prints from the works and allowing them to collective. Vincent, who was born in 1966,
exist autonomously. Much akin to early to currently lives and works in Los Angeles
mid twentieth-century mass-printed war- and has been widely exhibited throughout
Christian Vincent, detail of Waterfall,
2010, oil on canvas, 92” x 154”. time propaganda, the identity of the artist the United States.
For his new show Dark Day, David S. Allee else in the photographs underexposed and David Allee
derived the name and its theme from the dark. In this series, the light re-imagines Morgan Lehman Chelsea
manner in which he captured the images. In many different structures and places in the [through Feb 19]
much of his earlier work, he photographed cityscape. In 4:02PM, for example, the sun's
locations at night with intense artificial light intense reflection on an aboveground sub-
and extremely long exposures, catching un- way car filled with commuters re-imagines
real landscapes in a nether time somewhere this everyday scene with an unusual opac-
between night and day. For Dark Day, he ity and unexpected starkness. Additionally,
did the opposite. The images for this se- a number of the images are of glass office
ries were shot on bright sunny days, us- buildings, which capture and provide the
ing tiny apertures and the highest shutter bursts of blinding light that move and flash
speeds possible, with exposures reaching across the skyline throughout a sunny day.
1/10,000th of a second. This work captures The light doesn't penetrate them, nor does
the texture of the sun's brightest reflections it illuminate- for our purposes anyway- the
by letting as little light as possible into the veiled things that go on inside the subjects
camera, enabling us to see something we here; such places as the World Financial
wouldn't normally be able to see-a kind Center and the headquarters of Goldman David S. Allee: (top) 4:02PM, Chromogenic print,
of dog-whistle light that leaves everything Sachs, Citigroup, and other banking giants. 40”x60”, ed. 3; (bot) 3:46PM, Chromogenic
print, 60”x80”, ed. 3. Both from Dark Days series.
INDOOR/OUTDOOR will be comprised haps most well known for his bladed “line” George Rickey
of works from the grand arc of George sculptures, Rickey’s work varied greatly Maxwell Davidson Midtown
Rickey’s career, including some of his most over the span of six decades. At the start, [through Feb 12]
recognizable imagery, his boldest varia- Rickey’s work resembled Calder’s catenary
tions, as well as some of his most delicate systems, though those early mobiles soon
kinetic creations. Rickey turned to sculp- evolved into the finely balanced sculptures,
ture in earnest when he was in his early “little machines” as Rickey called them –
forties – late by most standards – but his swaying, rocking, and twisting – that gave
opus is deep thanks both the artist’s lon- Rickey his renown. Along with the quintes-
gevity and his tireless work ethic. George sential blades, Rickey used rotors, squares, George Rickey, Etoile I, 1958, stainless steel,
Rickey died in 2002 at the age of 96, and triangles, and trapezoids. With this show - copper, and brass, 26” x 64” x 64”.
had only stopped creating sculpture about the 16th of the artist at this gallery - the im-
a year before his death. Though he is per- pressive career of George Rickey endures. Robin Williams
P.P.O.W. Chelsea
[through Feb 26]
Through a series of eleven paintings, Robin adulthood. These youths inhabit a lim-
Williams’ first solo exhibition, Rescue Party, inal state of being; they are often stranded,
reveals a surreal world inhabited by ado- Hopperesque figures, posing in their cos-
lescents of ambiguous gender that are on tumes, hoping their visage will evince an
the brink of discovery or revelation. Each inner truth. Each of her characters is seek-
painting has a distinct narrative but with ing a sense of identity, safety, and well-be-
no specific conclusion. There is a sense of ing. Some choose to wait for rescue, while
pause in each work which heightens the others willfully adopt a persona hoping it
sense of the impending chance for change. will lead them toward salvation. In Rescue
Williams is able to achieve this surreal time- Party (see right) many possess this stare
lessness through her painting techniques. but there is also hope in this distant gaze.
While at once employing traditional paint- This painting, which pulls from art histori-
ing methods, she is also experimental and cal references such as Théodore Géricault’s
intuitive. Her use of color, light, texture The Raft of the Medusa, transforms the raft
and composition are all used to explore into a kiddie pool and although it is staged
painting as a medium and to link this to the in a banal vacancy of surrounding and ges-
conceptual content within each work. Rep- ture, there is a sense of hope and possibility.
resented through her adolescent subjects, Each of Williams’ subjects is searching for
Williams examines the internal phase of meaning: seeking an answer and they will Robin Williams: (top) Swoon at the Waterpump
development that takes place during young endeavor in the absurd until it is revealed. 2010, oil on canvas, 40”x60”; (bot) Rescue Party,
2010, oil on canvas, 80”x90”.
Exhibitions 37
EXHIBITIONS
“Bella Pacifica” Presented by Nyehaus, “Bella Pacifica” is The gallery, located on 3119 Fillmore Street,
David Nolan Chelsea hosted at four venues, including David No- was an informal co-op with six members
[through Feb 5] lan Gallery, whose selection focuses mainly and no records were ever kept. The origi-
on 6 Gallery from the 1950s. Characterized nal 6 (members) were Jack Spicer, Wally
by tonal, harmonic, and rhythmic instabil- Hedrick, Deborah Remington, Hayward
ity, the 6 Gallery exemplifies the ‘50s at its King, John Allen Ryan and David Simp-
most restless, carefree and experimental. son. The 6 fostered a spirit of coexistence
The work shown at the gallery within its not only between faculty and students, but
short life span (1954 to 1957) ranges from between different art movements, disci-
expressionism, to surrealism, illusionism, plines and ideals. Some of the other artists
collage, assemblage and abstraction; pure who participated included Robert Duncan,
and impure. A DADA attitude of Hilarity Clyfford Still, and Sonia Gechtoff, the first
and Disdain had replaced the grave sense of woman to have a solo show at Ferus Gallery
mission that characterized the period from in Los Angeles, which later hosted Warhol’s
1945 to the early 1950s. In San Francisco, exhibition. Beat poetry readings were also
the Alternative Scene resulted in collective an important part o the gallery’s history.
projects such as galleries, publications, jazz On October 7, 1955, the gallery hosted
bands and film-screening societies. Found- Alan Ginsburg first reading of his poem
ed in 1952, the City Lights project became “Howl”. Everyone present understood they
the center for the literary movement, and had been present at one of those moments
was to poetry what the 6 Gallery was to art. when everything changes.
Cui Xiuwen, one of China’s foremost fe- of body and soul, life and lifelessness. The
male photographers, is featured in her first presence and absence, posture, closeness
solo exhibition in New York City. Her lat- or distance of the doll in each work capture
(top) Sonia Gechtoff, detail of The Angel, 1955, est series, Existential Emptiness, pursues the relationship between the two. The digi-
oil on canvas, 72”x67”; (bottom) Deborah Rem-
ington, detail of Blasted Beauty, 1954, mixed her reflection on the woman as individual tal photographs are mostly monochrome.
media on paper, 30”x24”.
in modern China. This body of work fur- The palette and format are inspired by tra-
thers her focus from physical to spiritual ditional Chinese ink painting. The scenes
and illustrates her examination and analy- take place in the ice- and snow-covered
Cui Xiuwen
Eli Klein SoHo
sis of the woman’s psyche. The girl protag- mountains of Northern China. The quiet,
[through Feb 27]
onist, considered the artist’s alter ego, has ethereal landscape acts as a perfect set-
matured and is accompanied by a life-size ting for exploring the mind. The physical
doll resembling her. Inspired from her own appearance of the doll — obvious joints,
experiences, the appearance of the puppet revealed ribcage bones and scarred womb
without strings recalls Japanese Bunraku — alludes to the violence of a woman’s ex-
theatre. Companion, reflection, and bag- periences and how they impress upon her
gage of the now familiar character, the doll- spirit. The sparseness of the scenes creates
complements the girl and acts as alter ego an absence of temporal sense, emphasizing
Cui Xiuwen, (above) Existential Emptiness No.
18, c-print, 56.7”x118”; (below) Existential as well. The two figures evoke the duality the subjectivity of existence.
Emptiness No. 20, c-print, 37.4”x118” (pg. 6).
BOSTON / PHILADELPHIA
The inspiration that Seattle-based artist to the presence of intense color with its John Dempcy
John Dempcy finds in molecular structures more absent qualities. The white space adds Walker Contemporary Boston
is greatly evident in this new body of work, a shimmering quality to the work, despite [through Feb 12]
Wild Type. The forms closely resemble that it's being a matte finish. It interrupts the
of cells; small bodies working together to business of the work and instills a sense of
make a more complex, advance image. calm amongst the beautiful chaos. The or-
The colors are brighter than past work, the ganic forms float together, sometimes like
forms clearer, and throughout all is a new flower petals along a stream. In it's abun-
addition of white, which was not quite as dant simplicity, there is an overwhelming
abundant before. The white offsets the sense of connectivity between the works,
brightly colored paint, creating a contrast each presenting a new yet familiar image.
Al Loving (1935-2005) is one of the most painting on a stretched canvas, Loving be-
intriguing artists of the 20th century. His gan moving toward the expressive freedom
work had a personal trademark created by found in the collage process. These later Dempcy, Coronado, acrylic on clayboard, 30x30”
extending the ideas of abstract expression- works were more fluid and freeform: lay-
ism in truly original and groundbreaking ered constructions of rag paper painted in
Al Loving
ways. His distinctive work united influ- vibrant acrylics and crafted into elaborate
Sande Webster Philadelphia
ences from the abstract expressionist Hans compositions. Loving referred to these as-
[through Jan 29]
Hoffman, colorist Josef Albers, and opti- sembled works as material abstraction. This
cal illusionist Viktor Vasarely. He was not body of work introduced the iconic spiral-
simply an abstract painter but rather an ing forms. The spiral affirmed a personal
artist who redefined the boundaries of ab- connection to the natural cycle of continu-
straction throughout his career. A native of ous growth and defined time and space ex-
Detroit, Loving burst onto the New York tending out towards infinity. The driving
scene painting hard-edged geometric ab- reference for all of Loving’s work is the is-
straction in the late Sixties. Loving was the sue of space. He succeeded in expressing a
first African-American artist to have a one- new and dynamic spatial and aesthetic ex-
man exhibition at the prestigious Whitney perience that pushed his work beyond the
Museum of American Art in 1969. In this limitations of perspective and the modern-
landmark exhibition, Loving succeeded in ist notion of the flat picture plane. This rare
breaking racial barriers and opened doors exhibition which will include a wide variety
for other African-American artists, prov- of mixed media works and prints. Al Lov-
ing that abstraction was a viable way of ing has exhibited internationally and his
working. Inspired to create work beyond work is held in numerous major collections
the boundaries of geometry and traditional in museusms throughout the world. Al Loving, Life & Continued Growth #12,
mixed media on paper, 29” x 22”.
For his new group exhibition of digital only a fraction of the message." The videos “alterations”
media, alterations, curator and artist Peter of Peter Campus provide hopeful images Locks Philadelphia
Campus sought to understand "the trans- as a remedy for the anxieties of contempo- [through Feb 5]
formation of our society to an age of elec- rary life, while Nayda Collazo-Llorens
tronics,” He writes that “it was so rapid and creates multi-media video and installa-
unexpected that the time elapsed to allow tions to underscore the complexity of the
retrospective thinking is almost non-exis- mind and the obstacles of communicat-
tent in its brevity. We don’t know the dan- ing thought. Kathleen Graves combines
gers contained in this age; it is too soon to current technology with objects from
know, and too integrated to identify. In this the past. Jason Varone is inspired by the
presentation there are five different messag- advancement of society through technol- Peter Campus, Inflections: changes in light
and colour around Ponquogue Bay, 2009,
es, five different points of view, that present ogy and its decline from eroding resources. high definition multi-screen video installation.
Exhibitions 39
EXHIBITIONS
WASHINGTON DC
“Bound” Bound, an exhibition of new works by chaotic, organized, thriving and decaying.
Hamiltonian Washington Katherine Mann and Selin Balci, exam- Katherine Mann elegantly builds her paint-
[Jan 22 - Mar 5] ine the limits of their medium, as well as ings with hoards of ambiguous forms re-
notions of humanity within an expanded calling elements found in systems of nature
ecologic understanding of the living world. and in the highly-decorative, resulting in
Whether in Balci's laboratory approach a menagerie of depth and color. By utiliz-
or Mann's painterly exploration, both art- ing traditional lab procedures, Selin Balci
ists create vivid abstractions, ripe with no- creates microenvironments by incorporat-
tions of growth, wonder and subjugation. ing biological material as a new art media
Katherine Mann's oversized, abstract works to explore the literal process of life. From
on paper consist of accumulations of se- sterile beginnings the growth of microbes
quins, paint and ink, which illustrate the demonstrate a turbulent arc of life within a
potentiality of growth, as well as the peril largely imperceptible world. Balci's simple
Katherine Mann, Net, 2011, acrylics and
sumi ink on cut paper, 90”x102”.
of overabundance. “I think of my work as living organisms live and die within a net-
baroque abstract, a celebration of the dispa- work of biological exchanges highlighting a
rate” says Mann, who creates carefullycom- wide range of behaviors similar to the hu-
Simon Gouverneur and
Andy Moon Wilson posed fields with moments that are at once man equivalent of social exchanges.
Curator’s Office Washington
[through Feb 15]
Debt, a new exhibition featuring Simon a fascination with archetypal abstracted
Gouverneur and Andy Moon Wilson, is forms that can communicate on both eth-
not about money. Rather, it is about the nographically specific and universal lev-
slippery terrain of artistic debt. In 2006, els. But there is where the similarities end.
artist Andy Moon Wilson was introduced While Gouverneur intended a profound
to the work of iconoclastic and abstract and rigorous spiritual engagement with his
symbolist painter Simon Gouverneur, who artwork, Moon Wilson rejects this spiritual
had been based in Washington, DC, for the quest in favor of an exploration of the in-
last decade of his life prior to his suicide in tensely visual as it expresses itself both his-
1990. Andy Moon Wilson has spent his ar- torically and, more importantly, in contem-
tistic career exploring the infinite possibili- porary culture. Mostly, the artist just draws
ties of visual design and ornament both as compulsively. But it is an intoxicating visual
Andy Moon Wilson, Untitled, 2010 an artist and in his day job as a carpet de- experience to present these two artists to-
ink and acrylic on paper, 10” x 10”
Courtesy of Curator’s Office, Washington, DC. signer. Simon Gouverneur also investigated gether. Gouverneur's two large paintings
global visual design motifs in his paintings are flanked by hundreds of Moon Wilson's
and notebook sketches. Both artists share small intense works on paper.
“Saturnalia”
Irvine Washington
[through Feb 12] Saturnalia is a group exhibition of new Her sculptures and installations are per-
by Teo González, Melissa Ichiuji, Hedieh formative works and staged fantasies that
Javanshir Ilchi, Akemi Maegawa, Alexa often explore the boundaries of childhood
Meade, Susana Raab, and Nicholas Kahn innocence and adult self-consciousness
& Richard Selesnick. Teo González’s new andrepression. Each sculpture is sewn and
paintings challenge the boundaries of or- assembled from many materials. Hedieh
ganic and geometric form through a pro- Javanshir Ilchi presents new mixed media
cess of abstraction from the colors of skies paintings on Mylar as provocative visual
over specific city locations. González’s new essays on Persian, Iranian, and American
series of works are based on photographs of cultural identities. Ilchi uses militarist icons
skies, which he uses to map a color palette of the current Iranian regime as invasions
Hedieh Javanshir Ilchi, detail of As we waited
in Photoshop. Melissa Ichiuji’s new work and disruptions of a possible cultural co-
we were longing for Spring’s sun, 2010, expands on her approach to materials, existence and mines imagery from both
acrylic and mixed media on Mylar, 78”x60”.
Courtesy of Irvine Contemporary. identities, domestic space, and sexualities. Persian culture and Western abstraction.
SOUTHWEST
Tony Cragg was born in Liverpool in 1949. wrote about going through the trash as “a Tony Cragg
Cragg’s main artistic expression is sculp- fantasy journey through a land of strange Zane Bennett Santa Fe
ture; however prints are also a strong show- forms and colors.” Cragg was elected Roy- [through Jan 28 - Feb 18]
case in his oeuvre. The works included in al Academician in 1994. His works are in
his series Test Tubes and Bottles are some of many private collections but also found
the most recognizable and are being repre- extensively in many public collections, in-
sented in the show. In sculpture, he works cluding The Tate Gallery in London, the
in metal, glass, and plastic fabrication, as New York Public Library and Museum of
well as in traditional sculpture materials, Modern Art in New York City, the Alber-
and applies a casually exquisite draftsman- tina Museum in Vienna, and several corpo-
ship to drawings and prints. In the late rate collections among them Estee Lauder.
1970s, he began making wall sculptures of In 2007 he was awarded the Praemium
assembled found objects, and has said, sur- Imperiale, a major prize for outstanding
prisingly, that in doing so he was thinking achievement in the arts that is given by the
of van Gogh. Van Gogh, Cragg explained, Japan Art Association. Cragg, Spores, T.P.E., 1988, etching, 23”x24.5”.
Terence La Noue's uniquely riven and reas- creates them. He starts by combining lay- Terence La Noue
sembled sculptural-paintings have gained ers of colored acrylic with cotton netting Bentley Scottsdale AZ
him worldwide recognition and over a and acrylic saturated canvas into low-relief [through Feb 6 - Feb 26]
hundred and forty acclaimed solo exhibi- molds, and allows them to dry overnight.
tions throughout London, Paris, Tehran, La Noue then proceeds to cut the dried
Stockholm, Cologne, New York, Los Ange- reliefs into sections and shards, which he
les, Atlanta, Tucson, and Scottsdale. Muse- later unites in various ways to make up a
ums such as The Museum of Modern Art finished work. The ending effect is a multi-
in New York, The Metropolitan Museum dimensional art piece that is part mosaic,
of Art, the Guggenheim Museum, the Tate part tapestry, part painting, and even part
Modern in London, and others in Japan, sculpture. The diverse shapes, colors, and
Singapore, France and Australia, have in- textures that are created invite the viewer to
cluded his work in their permanent col- divulge into the intricacies of the painting, Terence La Noue, Return to Dakar,
lections. One of the most intriguing quali- while at the same time, enjoy the work of multimedia on wood, 33”x46”.
Exhibitions 41
2010.21. 80 X 72 INCHES • MIXED MEDIA ON CANVAS
Luc Leestemaker
Songs of the Unconscious
1020 Prospect, Suite 130, La Jolla, CA 92037 • (858) 459-0836
www.madisongalleries.com
HERBERT BAKER
“SELF-PORTRAIT” 1932
FROM THE BAYER FAMILY COLLECTION
L.A. Xicano
“Mapping Another LA: The Chicano Art Movement”
UCLA Chicano Studies Research Center in collaboration with
Getty Southern California Research initiative
Pacific Standard Time: Art in Los Angeles 1945-1980
curated by Pilar Tompkins Rivas
scheduled to open at the Fowler Museum, Fall 2011
Doin’ It in Public:
Art and Feminism at the Woman’s Building
as part of the
Getty Southern California Research initiative
Pacific Standard Time: Art in Los Angeles 1945-1980
scheduled to open at the Ben Maltz Gallery, Otis College of Art
October 2011
LEXANDER
W W W . L E X A N D E R G A L L E R Y . C O M
SUZANNA FIELDS
W A L K E R C O N T E M P O R A R Y
450 harrison avenue boston ma 0 2 11 8 6 1 7 . 6 9 5 . 0 2 11 w w w. w a l k e r c o n t e m p o r a r y. c o m