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Maria O’Malley8 Linda Vallejo12 Arshile Gorky18

Art Shack at Laguna Art Museum 25 Patrick Graham 18
California Exhibitions 16-21

June 2010 | On the Cover: Mark Harrington, Depth of Field 4, 2010, acrylic on linen, 48” x 38.25”. (see page 18)

Fang Ling-An 繡凌
Everything Is Stitching 結
Together Simultaneously 時

May 29 - June 27, 2010 空

207 W. 5th Street

Los Angeles, CA 90013

CB1 Gallery Hours:

Wednesday - Sunday, noon - 6 p.m.
Friday open until 7:30 p.m.

May 22 - July 3, 2010

2 5 2 5 M I C H I G A N A V E T 3 S A N TA M O N I C A C A 9 0 4 0 4 3 1 0 8 2 8 - 1 1 3 3

Including collaborations
with Puma Yoshie Seki
1431 Ocean Ave. , Santa Monica, CA 90401 June 19th-July 1, 2010
+1 310 451 9983 Reception: Saturday June 19th, 6-9pm Artist Talk: Sunday June 27th, 4pm
Ben WHite
History and Vanity: tHe distillation of rumor

Members of Westboro Baptist Church Protest at a Neanderthal Burial Ceremony, 2010

acrylic and spray paint on panel | 36 x 48 inches

may 26-June 26, 2010

5797 Washington Boulevard | Culver City, California 90232
323.272.3642 |

Maria O’Malley

An Encaustic Journey by Roberta Carasso

tics do not deteriorate, yellow, or darken;

and do not have to be placed under glass.
In fact, the Greeks used encaustic and
resin to weatherproof their ships. While
the process is laborious, a work of art has
a permanency rarely seen in other mate-
rials. Also important is health hazards are
reduced or eliminated making the pro-
cess environmentally sound.

Requiring a heat of 180 to 200 degrees,

molten beeswax is like scalding thick
syrup.  It does not unite with water or
many other materials and requires sig-
nificant experience to know when it is
ready to use. Like a neophyte chemist,
O’Malley made her studio into a labora-
tory, finding her way in unexplored ter-
ritory. Many experiments were disasters
and dangerous,  however, perseverance
prevailed. Not only has she gained exper-
tise, O’Malley has tailored the encaustic
Maria O’Malley, Cosmic Landscape, encaustic and graphite on panel, 36”x48”.
process to suit the materials she loves and
her particular artistic style. Today she
F or three consecutive nights, Maria long list of fine exhibitions. These include blends drawing materials into wax; in-
O’Malley, an accomplished figurative oil the Laguna Art Museum and Chapman vents her own equipment, and incorpo-
painter, dreamed of bees. Her ancient University. Working in familiar oils and rates disparate supplies bought at lumber
Greek ancestry taught her to be sensi- less familiar encaustics, the artist realized yards. O’Malley’s unique process inte-
tive to the interconnectedness of life she was at home using the beeswax pro- grates natural resins, and fuses drawing,
and that dreams can convey messages. cess. Following every lead, she sought to painting, and relief sculpture.
Because of these dreams and their re- know more about her life’s new direction.
petitive nature, O’Malley paid attention. Eventually, an unknown, elderly artist When O’Malley went from oils to en-
Her subconscious thoughts and ensuing in New York City graciously taught her caustics, her style and subject matter al-
research about bees led her to determine much of what she needed to know. tered, yet certain key signature features
what the dreams meant. She discovered remain. Her encaustic landscapes, as her
that beeswax, also known as encaustics, O’Malley never anticipated that her oil-based figurative paintings, engage the
is an ancient art form. Except for Jasper Greek ancestry would come to her aid viewer with large open negative spaces
Johns’ encaustic resurgence, the medium in the 20th century. Almost 3,000 years and linear configurations. A lone tree or
was not popular at the time of O’Malley’s ago, Greek artists, were accomplished a few trees in a solitary open white field
dreams. With no knowledge of working in encaustic portraits and mythological are haunting images. Or, graceful trees,
in encaustics, O’Malley learned all she scenes on panels which still exist today. with elegant branches may cover the en-
could about using beeswax in her art. Homer, the epic Greek poet, sited the use tire surface. Painted in grays and blacks
of encaustics in describing the battle of from graphite pencil shavings, or reds of
While the artist investigated and studied Troy. Increasingly O’Malley was drawn to melted Conte crayons, O’Malley’s land-
new art supplies, she continued to paint beeswax when she realized its durability scapes are painted more from imagina-
in oils. O’Malley’s figurative oils won sev- over other art materials. It has no toxic tion than observation. Their enigmatic
eral first place prizes and were part of a fumes and requires no solvents. Encaus- quality comes from a fusion of layers that

8 A|C|A June 2010


Maria O’Malley

may appear deceptively flat or texturally

thick, but always painterly as O’Malley
builds layer upon layer, up to 30 layers of
encaustics and resins varying the density
of each area.

This arduous process requires continu-

ously adding and removing materials by
abrasion and application; includes vari-
ous drawing methods - thick and thin
brushstrokes and mark making; and
sculptural methods - the carving and
building up of tactile surfaces. The result
of this rich process of constructing and
deconstructing, is a luminous and matte
surface that reflects light in varying de-
grees throughout the composition. In ad-
dition, an interplay of layers, with edges
of one process meeting layers of a former
process, gives the surface an other world-
ly appearance as if one can see and feel
different time periods simultaneously.
Viewing an O’Malley painting is like be-
ing in the moment yet going back in time,
peeling through stratum of the past that Maria O’Malley: (above) Red Dune, encaustic and conte on panel, 32”x38”;
are either covered over or seem to juxta- (below) White Lake, encaustic and graphite on panel, 6”x24”.
pose past with present.
with the process as she finds sacred places try, O’Malley creates timeless and lumi-
Using thick leather welding gloves, and spaces that are intuitive and organic. nous encaustic imagery that will endure.
sculpting tools, torches, hot air wallpaper With each step, each abrasion, each over-  
guns, and working with molten materials, lay of placing natural resins and beeswax Roberta Carasso, Ph.D., is an elected
it is impossible to have preconceived no- on the panel, surprises continuously oc- member of the International Art Critics
tions or be formulaic. Rather encaustics cur. Like a symphony conductor, O’Malley Association, curator, and art writer. Her
demand discovery. Consequently, trained guides each element to fruition, keenly website is For more
in a representational style, O’Malley now overseeing the many dynamics simulta- information about Maria O'Malley visit
works conceptually, becoming a partner neous at play. Thus, like her Greek ances-

Artists 9

Linda Vallejo
In Her Own Words:
“Bridges are thresholds to other realities, archetypal, primal symbols of shifting consciousness.
Bridges span liminal spaces between worlds, spaces I call nepantla, a Nahuatl word meaning
tierra entre medio. Transformations occur in this in-between space, an unstable, unpredictable,
precarious, always-in-transition space lacking clear boundaries.” - Gloria Anzaldua

My art is an eclectic mixture of the of diverse racial and cultural traditions. leap from one idea to the next, over his
many nepantla realms I inhabit as an art- My father, an officer in the Air Force, was long creative lifetime, fascinates me and
ist and woman of color. Renowned femi- stationed throughout the US and Europe, continues to influence my own work.
nist scholar Gloria F. Orenstein notes so our family traveled extensively. I was
that my work “narrates a mythic jour- able to visit many of the world’s greatest I believe that authentic artworks can
ney from nepantla, the space between museums and study the masterworks in only be created through an understand-
divided worlds--cultures, lands, states of their collections. Recalling images from ing of the artist’s own individual jour-
consciousness, ney combined
ideologies, with an artis-
identities--to tic style de-
an envisaged veloped over
archetypal decades of
realm of light dedication.
and enlight- I commit at
enment.” I least five years
am indebted to any new
to Profes- body of work.
sor Orenstein I believe that
for bringing long-term
the nepant- commitment
lera journey allows me to
to light. This discover and
concept de- proficient-
scribes my ly illustrate
practice of the multiple
moving from and complex
one artistic points of an
idea or process idea.
to the next. I
continuously As a viewer,
abandon situ- I am attract-
ations of cer- ed to unique
tainty and Linda Vallejo, Electric Landscape Full Moon in Daylight, 2009, oil on canvas, 50”x60”. and complex
travel to un- technical ap-
known places where I am compelled to these cultural strongholds, I am remind- proaches in the application of paint and
create new images. I ask myself, “Can the ed of the alchemical processes that art- mixed media. I am especially drawn to
artist move seamlessly from one idea and ists use in transforming information and images that juxtapose philosophical,
media to the next and remain centered experiences into new works. As a young sociological, spiritual, and political ele-
on their personal vision?” And I find that painter living in Spain, I was deeply in- ments drawn from a wide span of history.
my answer is always a resounding “Yes!” spired by Pablo Picasso, particularly I am deeply attracted to images that draw
by his ability to develop a multitude of influence from an extended historical
I was born in East Los Angeles, an area unique and disparate styles. His ability to context to create an image of the contem-

12 A|C|A June 2010


Linda Vallejo

porary world in all its complexity. from Gustav Klimt’s emphatic patterning, es, media, and style in an effort to create
combined with the visual repetition and my own unique image and vision. Artis-
In my forty-year career, I have gener- coloration of Huichol yarn painting and tic leaps and accidental alchemies have
ated several distinct bodies of work, in indigenous ceremonial beadwork. These kept my artistic juices alive, and I always
a variety of media, often focusing on a are artists and images that I have stud- look forward to the next influence and
series of ideas around a central theme. ied and enjoyed over many decades. This inspiration.
Many times, the impetus
to create a new series of
works comes from an ac- What others have said
cident of artistic alchemy. about Vallejo's work:
Sometimes, I find that
the meaning of a particu- Artist, educator, and art
lar work of art is not clear critic Nancy Kay Turner:
until long after its comple- "Vallejo’s work demon-
tion. Many require consid- strates a relentless explo-
erable time for reflection. ration and manipulation
of materials while remain-
My newest suite of ing true to her inner vi-
works, The Electrics, be- sion. There is a profound
gan as “portraits” of the consistency here despite
California oak trees that the diversity of materials
surround my home in To- and influences. Vallejo’s
panga Canyon. For twelve prodigious body of work,
years, I had been paint- like the artist herself, is a
ing California landscapes force of nature.”
in a magical realist style.
Then one night, I tried William Moreno, for-
to capture the glow of an mer Director of the Cla-
oak bathed in the light of remont Art Museum and
a full moon. The painted the Mexican Museum in
field dissolved into mul- San Francisco: “Vallejo’s
tiple organic shapes and broad command of a va-
bold marks painted in riety of mediums: paint-
unexpectedly heightened ing, sculpture and site-
colors. Since that fateful specific installations are
night, I have completed all within her prolific oeu-
several oaks, landscapes, vre. Vallejo’s interests and
and portraits inspired by subject-matter spans are
Linda Vallejo, Electric Landscape Joshua Tree, 2008, oil on
this first effort where color considerable. Themes of
canvas, 48”x36”.
became “electric,” mov- beauty, consumption, war,
ing and vibrating across the canvas. In Nepantlera may arrive in an uncharted excess, world pollution, iconic references
thinking through the process, I believe artistic place, but she brings a melange of to international indigenous peoples and
that The Electrics have been influenced memories to the new creative locale. earth-based installations all reside in her
by Andy Warhol’s pop icons, the splotchy works.”
"pixels" of Chuck Close’s portraits, and Like a true Nepantlera, I have traveled
the psychedelic palette of 1960s artist full circle to emulate Picasso and his un- For more information about Linda
like Peter Max. I can also see influences canny ability to mix and match influenc- Vallejo, visit

Artists 13
Nadine Rovner, One at a Time Archival Digital Pigment Print , 2009

hous projects
march 25 - august 17 2010

Featured Artists: Narelle Autio • Jen Davis •

Scott Davis • Marian Drew • John Houshmand •
Molly Landreth • Eric Ogden • Trent Parke •
Charles Robb • Nadine Rovner • Haley Jane Samuelson •

Phillip Toledano • Nicola Vinci

8687 melrose ave suite b222 los angeles ca 90069 | t 310.294.8577 |
31 howard street, floor 2 new york, ny 10013 | t 212.941.5801 | e

Tim Hawkinson Tim Hawkinson’s work is known for its sculpture of a woman at a spinning wheel
Blum & Poe Los Angeles sprawling, surrealistic self-portraiture in atop a platform of rotating concentric circle
[through June 26] which the body, through intense introspec- tire treads. This piece looks to mechanical
tion, becomes an alien landscape open to models used to illustrate the motions of the
radical redefinition and transformation. planets and their moons in our solar sys-
This artistic agenda is mirrored materially tem. A sculptural collage of water bottles,
by Hawkinson’s use of familiar and ubiqui- plastic shopping bags, recouped hardware,
tous consumer packaging and household and odds and ends comprise the woman’s
objects in highly unconventional ways. The head, hands, eyes, ears, and spindle; every
new work continues these refrains, while part of the piece is interconnected and eter-
also exploring more pointedly, temporality, nally spinning. A companion sculpture,
mortality, and the cyclic. Hawkinson works Candle, takes the form of a giant foam can-
in a wide array of media involving sculpture, dle, nearly eight feet tall. The dramatic scale
painting, photography, and installation. propels this domestic object into a caustic
The exhibition reflects this range, with such landscape and volcanic totem.
pieces as Orrery, a towering eight-foot tall

This exhibition of rare drawings by Donald tile years, a period in which the artist estab-
Tim Hawkinson, Orrery, 2010, plastic bottles,
Judd, created between 1963 and 1977, will lished the formal dictum that would guide
shopping bags, inkjet prints, twine, string, wire, illuminate the process by which his sculp- and inform his work throughout his life. In
foam, springs, tape, lead, steel, 93” x 96” x 96”.
ture was conceived and realized, and pro- these drawings, one can trace the trajectory
vide an overview of the iconic forms for of Judd’s thought processes as he found a
Donald Judd
Maloney Los Angeles
which the artist became best known: stacks, starting point for the reinvention of Ameri-
[through July 2]
progressions, boxes, and various forms that can art. Judd’s desire was to make a distinct
the artist called “Specific Objects.” Emerg- break from the tradition of European Art.
ing in the 1960s in New York, Judd became He rejected the symbolism and emotive
known as a major exponent of ‘Minimal- work of the abstract expressionists, based
ism,’ a label he strongly rejected, prefer- on free-wheeling use of color and gesture,
ring to describe his work as “the simple and by introducing the use of industrial
expression of complex thought.” The years materials, Judd developed a vocabulary of
between 1963 and 1977 were his most fer- sculptural form that remains unrivaled.

Ben White's paintings merge anachronistic their 2112 tour. These perceptions become
Donald Judd, Example work from Drawings, personages, events, biblical narratives, and a mash-up, a summation of personal ex-
1963-1977. Courtesy of Maloney Fine Art.
popular culture to create a fantastic, non- istence that can't be contained by any his-
linear interpretation of history. These con- torical account. America’s founding fathers,
Ben White structions play with the nature of subjectiv- persecuted witches, Jesus, and other sub-
Blythe Projects Los Angeles
ity and historical memory. He uses history jects from mythology and the artistic canon
[through June 26]
as a medium, abstractly arrang- populate these works, interacting fantasti-
ing topics displaced from their cally with situations and personages from
proper contexts. To achieve this distant and recent history. The incongru-
dislocation, he filters his per- encies are absurd, and the absurdity itself
sonal interests through Google pulls them into the present. White's satire
searches, juxtaposing disparate, disarms imposing and familiar figures,
arbitrary results. Each work is relieving them of their historical and aca-
a mental self-portrait from a demic baggage and rendering them comical
certain moment, showing the and approachable. It becomes our history
multiplicitous aspect of thought again, on equal terms with the present and
– one might be reading about once again acceptable as subject matter for
Gauguin’s Jacob Wrestling with contemporary painting. Historical gravity,
Ben White, The First Council of Nicaea Agrees on the Nature
the Angel while listening to the leavened by wit, becomes a source of plea-
of Leviathan, 2009, acrylic and spray paint on panel, 30” x 49”. band Rush and dreaming about sure and fascination. - Lara Bank

16 A|C|A June 2010


William Swanson’s new show, Mass Con- the imagery creates a dialogue between William Swanson &
tinuum, takes a slight departure from his the eco-system and man-made construc- Jill Weinstock
old, both in terms of perspective and place- tions – and the effects both have on each Walter Maciel Los Angeles
ment of imagery. Although still interested other respectively. | In her new work, Jill [through July 2]
in presenting an illusionary view of highly Weinstock continues the use of repetition
architectural forms colliding with natu- in cast rubber forms with an emphasis on
ral environments, he now takes the viewer the nostalgia of one’s own childhood. Using
inside to peek at the conceptual structural an original Fisher Price dollhouse from the
designs from the interior. The works ex- 1970s as her mold, Weinstock casts the toy
amine propagation of flora within vacated in different shades of pigmented rubber to
public spaces including halls, corridors and explore how experiences of objects in early
atriums. The empty spaces stand as skeletal youth bridge the gap between reality and
frameworks holding grids of light fixtures, reminiscence. Through this intensive pro-
sections of walls, and partitions. These cess of transforming the toys into concep-
structures indicate a once active corporate tual “mementos,” Weinstock recalls the ob-
or retail infrastructure now abandoned and ject’s past, suggesting it’s greater connection
stripped of its original function. Done from to our collective memories, desires, and
hand and without any computer generated disappointments. Weinstock's sculptures
imagery, the compositions are created with put forth a potent cultural resonance for (Top of Page) William Swanson, Particle Ho-
rizon, 2010, acrylic on wood panel, 30” x 47”.
multi-layers of visual information piled on representing memory in tandem with the (Directly Above) Jil Weinstock, Group of Doll
Houses, 2010, pigmented cast rubber, edition
top of each other. In Swanson’s paintings, formation of self-narration. of 2 each, 10” x 15.75” x 9”. Courtesy of Walter
Maciel Gallery, Los Angeles.

Ginger Wolfe-Suarez explores the psychol- presence and non-presence, dispelling no- Ginger Wolfe-Suarez
ogy of built space and perceptions of place tions of reduction, in what the artist terms ltd Los Angeles
while re-engaging notions of site-specific- a “symbolic abundance through absence." [through June 26]
ity. Approaching fragility and imperma- Both a collapsing of representation and a Ginger Wolfe-Suarez, Here (detail), 2009-2010,
nence, the material, textural, and odiferous questioning of material and wood, concrete, glitter, rock, mirror.

with the same complexity as site and scale, process are embedded within
Wolfe-Suarez’s sculptures operate phenom- the trajectory of Minimalism
enologically, the exhibition space reformed and the Minimalist object.
into a temporal and experiential zone for the Meaningfully endowing mem-
viewer’s body. Utilizing a material palette ory with physicality, the artist’s
of wood, rock, paint, transparencies, light, sculptures explore boundaries
yarn, as well as various odors and scents, between constructed, found,
her latest exhibition, Memory Objects in- and cast-objects as well as dis-
cludes sculptures and installations ques- tinctions between collective,
tioning how moments are made physical. psychological, personal, and
Wolfe-Suarez negotiates a tension between historical memory.

One Piece is a dynamic ocean culture ex- ing them with images upon
hibit by Mike Saijo, including collabora- text, he will be branching out
tions with fashion designer and artist Puma to new areas for this exhibit,
Yoshie Seki. The exhibit juxtaposes eastern including on-location beach
and western sociocultural history in rela- installations, sculpture, and
tion to oceanside life. Saijo and Yoshi cross the incorporation of painting,
cultures as well as art forms, drawing from glass, and sculptural elements
both popular and academic movements. into his works. Collaborations
Conceptual mixed-media, traditional Japa- with Puma Yoshi begin with
nese painting, surf art, Anime, and other Mike's usual Xerox composi- Saijo, Grand Line (detail), wax & charcol on pages
of Jung’s Symbols of Transformation on wood panel.
forms converse to explore the mythology tions on book pages as the starting point
Mike Saijo & Puma Yoshie
and ethos of the ocean environment. While for new forms. Saijo reengages the Con- Bleicher/Golightly & Hamilton
Saijo is known for his “book pieces,” de- textualist ideal of deriving meaning in art Galleries Santa Monica
constructing pages of books and interplay- from soci-cultural and historical contex. [through July 2]

Exhibitions 17

Patrick Graham & Arshile Gorky

Jack Rutberg Los Angeles
[through July 31]

Monumental paintings and drawings by artist Arshile Gorky (1904-1948), one of the
(above) Arshile Gorky, Untitled, c.1930-35, two-
Patrick Graham, widely regarded as Ire- 20th century’s most important painters
sided drawing, graphite on paper, 11.25”x8”. land’s most important contemporary artist, and a seminal force of American modern
(center page) Patrick Graham, Wreath (Collat-
eral Series), 2005-2006, oil on canvas diptych, will be featured in this major exhibition of and contemporary art. The exhibition will
his recent works, joined by a number of the feature Gorky’s early sketchbook drawings
artist’s most iconic, large-scale paintings of dating from the early 1930s. It was during
Mark Harrington
the last 25 years. Patrick Graham has been that period when Gorky absorbed and re-
Edward Cella Los Angeles
credited by art historians with changing the defined European avant-garde sensibilities,
[through July 10]
face of Irish painting, and has been recog- having at that time a profound impact upon
nized by Ireland as a “living national trea- such artists as Willem deKooning, Hans
sure” through his induction into Aosdána Burkhardt, Stuart Davis, John Graham, and
since 1986. Fact of the Matter is his first Isamu Noguchi. [In fact, Burkhardt was re-
exhibition in Los Angeles since 2002. It of- sponsible for introducing Gorky's work to
fers a rare opportunity to view a major pre- the Los Angeles artists and curators.] The
sentation of Graham’s works; some recently drawings in this exhibition reveal Gorky’s
exhibited in the critically acclaimed muse- early ruminations on cubism and biomor-
um exhibition The Quick and the Dead in phic abstraction, predating his encounter
Dublin. | Opening in conjunction will be a with the European expatriates who arrived
rare exhibition of drawings Armenian-born in New York during World War II.

Depth of Field, a new exhibition from tions of paint. Using a minimal or reduc-
German-based artist Mark Harrington, tive system of compressed layers of built-up
presents new non-representational paint- and stripped-away paint, the artist controls
ings, distinguished by their thickly layered what the eye perceives in terms of imag-
surfaces organized in rhythmic bands of ery. In doing so, Harrington establishes a
subtle, contrasting color. Inspired by the dialogue between illusory bands of trans-
cinematographer's term “depth of field” – parent, distressed color and the plastic,
the range of distance within a photograph sculptural nature of his materials. Inves-
or film image that is acceptably sharp – the tigating the interaction of color and line,
exhibition presents a sequence of paintings Harrington's large-scale abstractions focus
exploring the dynamic visual relationship on space, pictorial depth, and light. Em-
between the painting's physical surface ploying the workmanship inherent to the
and its illusory visual ground. With a debt classical traditions of European painting,
to fresco, Harrington imbeds multi-tonal Harrington's paintings represent a contem-
Mark Harrington: (top) Depth of Field 2, 2010, veins of color into monochromatic fields porary reinterpretation of the aesthetics of
acrylic on linen, 43.25” x 38.25”. (bottom) Great
Whale, 2010, acrylic on linen, 79.5” x 72.5”. through repeated insertions and reduc- modernist painting.

18 A|C|A June 2010


Mostly known for her performance- Jamie Isenstein

based sculptures that test the perma- Michael Benevento Los Angeles
nence of objects, New York artist Jamie [through June 26]
Isenstein presents a room of objects on
fire in House of Hot. For the exhibition,
Isenstein transforms various tchotchkes,
including cookie jars, Jell-o molds, nov- Jamie Isenstein: (above) Flowers of Evil, video installation of
elty teapots, and porcelain figurines photographs; (images on right) two selections from the House
of Hot exhibition. Courtesy of Joshua White/Michael Benevento.
into functioning oil lamps. As products
of mass-production gathered from junk "nature morte," these oil lamps are grouped
stores and garage sales, these objects are in clusters of still-lifes with the flames en-
inconsequential and replaceable, yet made livening and giving presence to the static
from enduring, permanent materials. Un- objects. In the back gallery, presented like a
like candles that melt when set on fire, these greenhouse full of plants are Flowers of Evil,
oil lamps are not consumed by the flames a series of photographs documenting flow-
they sustain. Drawing on Isenstein's inter- ers officially registered with sinister names
est in immortality and the concept that art such as Ghost Train, Anvil of Darkness, and
is supposed to last forever, these oil lamps Armageddon. This relates the flowers to
reference the uses of oil lamps in religious the historical art tradition of using flowers
establishments, burial memorials, and the as symbols for mortality; the price of each
Olympics as a way to invoke the realm of flower is displayed below the name suggest-
eternity. In addition, in response to the term ing that even death is for sale.

Step in Time, a new exhibition by Bay Area her work, accents the shadows of the lines Judith Foosaner
artist Judith Foosaner, features black and and shapes that encompass the entire can- & Carlo Marcucci
white abstract paintings and collages. Foo- vas. With her signature style, her new work Lora Schlesinger Santa Monica
saner's work commences with a delicate line continues to exude energy and fervor. The [through July 9]
that evolves into bold complex forms and East gallery will feature Wheatfields, wall-
compositions. In her painting, Kiss, organic mounted sculptures by Los Angeles based
forms resembling leaves float gently within artist Carlo Marcucci. The artist creates
fields of rich black paint. Similar shapes are smooth, minimal sculptures by mounting
found and transformed into puzzle-like col- dry pasta side by side in rows creating an
lages in Pursuit. The fluidity and rhythm illusion of wood or mosaics. Some of the
of each shape is disrupted, cut and then sculptures are designed in multiple sections
mounted on canvas, resulting in even more and others include intersecting structures
elaborate compositions. The interplay be- made of transparent Plexiglas, changing the Carlo Marcucci, Wheatfields LXII (62), 2007,
udon noodles, squid ink spaghetti, regular spa-
tween light and dark, consistent throughout nature of the pasta itself. ghetti, salmon spaghetti on plexiglas, 14.5”x9”x 4”.

New York artist Rachel Harrison's practice of statuesque abstract forms painted and Rachel Harrison
includes sculpture, painting, collage, pho- combined with ready-made objects. These Regen Projects Los Angeles
tography, video and installation. Her work sculptures are complex amalgamations that [through July 10]
is consistently layered, creating a multiplic- resemble monuments but are
ity of meaning and perspectives, engaging completely non-referential.
the viewer both visually and conceptually. The title (Asdfjkl;) describes
Investigating space, time, and context, the the standard placement of one's
works redefine existing terms between im- fingers when typing. It is men-
ages and forms while positing alternate re- tally tactile, as it speaks to the
lationships to consider. Playing with color, moment when one is just about
objecthood, and language, Harrison con- to touch an object. The rapidly
stitutes analogies that lead to new thoughts changing relationship to writ-
and investigations. This exhibition – Asdfjkl; ing produced by the aid of ma-
– presents six sculptural works composed chines is central to this title. Rachel Harrison, Asdfjkl; (installation view). Courtesy Regen
Projects, Los Angeles. Photograph by Brian Forrest.

Exhibitions 19

Lael Corbin In this new show, Greetings from Earth, Lael tory, science, space, and time, as well as
Luis De Jesus Santa Monica Corbin compels us again to redefine our play, curiosity, and wonder. Corbin has fre-
[through June 26] understanding and relationship to material quently dealt with language through the use
reality. Taking of fable, allegory, narrative, and poetry, ex-
his cues from the ploring how fictitious or inanimate objects
space programs can convey precept or truth, and calling into
of the late 1970s, question the very materials and methodolo-
like NASA’s Voy- gies that form, what he calls, “the multitude
ager spacecraft of other conceptual frameworks that shape
and its Golden our perception today.” This has led him to
Record, Corbin experiment with a broad range of methods
examines ideas and unconventional materials, employing
and ways in a strategy in which research, building, and
which we might manufacturing processes mix seamlessly
communicate together with dream-like imagery, frag-
with extrater- ments of information, syntax, memory, and
restrial life. He competing timelines. Stripped of a normal
offers an instal- context, objects and processes that, at first
Lael Corbin, Brûnâ-77, 2010, wood, glass,
lation of specific glance may appear familiar, in the end force
shoes, audio and video recordings, 48”x12”x18”. images and objects that draw upon both us to question how these forms fit into our
narrative and poetic relationships to lan- larger consciousness.
Teo González guage, while evoking such notions as his-
Brian Gross San Francisco
[through July 3]
These new minimalist paintings by the New ghost-like traces that call to mind various
York artist Teo González were achieved by natural forms, such as cells, stars, eyes, eggs,
the artist methodically painting thousands and molecules. In his new works, Gonzalez
of tiny dots in loosely gridded arrange- mimics the residual forms by painting the
ments. Subtle variations in the size, den- shapes directly instead of using droplets—
sity, and placement of the forms result in eliminating the element of chance inherent
shifting, dynamic compositions that engage in the dropping method and giving the art-
and captivate the viewer. The paintings on ist greater control of the creative process.
view present a new direction in González’s The result is vacillating abstract fields that
working method. Previously, the artist ap- are at once meticulously precise and rhyth-
plied paint to the canvas in tiny droplets us- mically organic, possessing a vital energy
ing an emulsion that forces the pigment to that gives them a life of their own.
Teo Gonzalez, Untitled 593, 2010, acrylic on
the outer edge as it dries. Left behind were
canvas over board, 78” x 78”.

Jeff Adams & Younhee Paik In his recent paintings, Jeff Adams creates and through varied brushwork and texture,
Braunstein/Quay San Francisco
levels of physicality by incorporating a va- highlight action. Younhee Paik, an artist
[through June 26] riety of mixed media onto his canvases, us- participating in the ACCESS Program, de-
ing everything from acrylic, oil, and jute, rives inspiration from nature and the con-
to burlap, asphalt and plaster. However, his stant challenge of finding one’s place in the
is a "material with no implied or inferred vastness of time, space, and beyond. "I try
meanings." Instead, Adams' paintings high- to explore and express my ever expand-
light the artist's interest in achieving a work ing perception of the relationship between
that is highly subjective. Viewers react to the physical and the spiritual," writes Paik.
his paintings with sensorial responses – or Many of the images in her work are memo-
"the silence of an action" as Adams calls it ries from her childhood in a Korean fish-
– while others could feel they are devoid of ing village: the waves of the ocean, ships on
meaning. Adams builds upon the flat sur- the water, and stars at night. Floor plans of
face of canvases that hinge on the nuances cathedrals and the geometry of New York
Younhee Paik, St. Peter Rotunda, 2008, oil on
canvas, 50” x 54”. of the figure and memories of landscapes, high rises also play a role in her paintings.

20 A|C|A June 2010


Frederick Hayes' latest exhibition, Cityscape: social and eco- Frederick Hayes & Ernest Jolly
Patricia Sweetow San Francisco
Drawings, Installation, and Painting, con- logical issues.
His installa- [through June 26]
tinues his exploration of African American
portraiture and urban landscape using char- tions bring to-
coal and paint. Hayes's exhibition takes the gether sculp-
viewer on a walk through his city – albeit ture, sound,
a fictionalized city – filled with faces both and light, us-
known and unknown, billowing cloud for- ing common
mations over geometric urban cityscapes, building mate-
and detailed brick facades of massive archi- rials like con-
tecture. His subjects are never accidental, crete, wood,
but rather thoughtful and provocative, pro- and wire. In
viding a rich portrait of urban life. "I have Just Off Shore, (left) Frederick Hayes, Cedrick, 2009, acrylic on
canvas, 14” x 11”. (right) Ernest Jolly, Alchemist
an undeniable interest in portraiture, the Ernest Jolly collaborates with M. Chris I (detail), 2010, mixed media, 46”x117”x46”.

African American experience, the working Evans, a cellist, who combined a variety of
class, and the sort of learned approach to art sounds with Jolly's video projection of a Matthew Palladino
making that manifests itself in various guis- hazy coastline and foreground sculptures Baer Ridgway San Francisco
es and disguises," says Hayes. Also on dis- that suggest a pier and broken boat. The [through June 12]
play is the work of artist Ernest Jolly, who combination creates a serene installation
combines his musical background with vi- that also alludes to the decay and aban-
sual artistry in unique ways. Jolly's explo- donment of man-made materials.
ration of material and form is inspired by

Wonder Box, a solo show of Matthew Pal- viewer to investigate the images' ideologi-
ladino's latest paintings, references a 19th cal content through the unique lens of their
century viewing device that contained ex- own experience. The gallery door becomes
otic scenes that a small audience could see the hole and, once entered, the viewer is
through a peephole for a nominal fee. It is within the Wonder Box for a peek at the
in this vein that Palladino's new paintings artist's distorted scenes of the erotic, spiri-
are presented, a contemporary peep show tual, and mundane. Not unlike a private
where ideas of morality are disoriented and dancer at a peep show, these pieces, painted
reconfigured in a playful fashion. The pieces up and protected by a layer of glass ask the
lack any clear moral compass, causing the viewer to “look, but don't touch”. Matthew Palladino, The Rapture, 2010, acrylic
ink on paper, 49”x 37”.

This show includes a new installation, In- contrasted with Ellingson’s familiar geo- Amy Ellingson
verse Studies, featuring twenty-four oil and metric module. In Summer Frieze, works Haines San Francisco
encaustic paintings. They represent a depar- are presented in a linear installation, with [through July 10]
ture from Amy Ellingson’s established scale the paintings placed at irregular intervals
(all works are 16 x 12 inches) and method- over a varying progression of laser-cut vi-
ology of predetermining all elements of her nyl elements, composed in situ. This layer-
paintings via digital technology. The works ing beautifully highlights the juxtaposition
are indicative of a rediscovery and integra- of colors employed in both the paintings
tion of a more intuitive painting method, and the vinyls.
Amy Ellingson, Inverse Study #1, 2009, oil
and encaustic on panel, 16” x 12” x .875”.
Courtesy of Haines Gallery, San Francisco.
California Contemporart Art is a publication of
American Contemporary Art magazine.

Exhibitions 21

Nº 0028
72” x 48” x 13”

8687 melrose ave suite b222 los angeles ca 90069 | t 310.294.8577 | WWW.JOHNHOUSHMAND.COM

Combining Art and Architecture


Art Shacks: (top left) Marnie Weber; (bottom left) Jason Maloney (right) Kenny Schart

post-apocalyptic films like District 9 or abandon social norms and "shack up in

childhood games like MASH (Mansion- the mountains."
Apartment-Shack-House). Along the
west coast, locals are quite familiar with As part of the exhibition, Don Ed
surf shacks, date shacks, and Tiki-in- Hardy’s Tat Cat Shack (Tattoo Hut) will
spired shacks—romantic, boutique-like feature an activated tattoo machine. Jeff
bungalows for the leisure visitor. Gillette studied slums in India as the in-

spiration for his art shack, while Marnie
ombining art and architecture, thir- Architecturally, a shack is the lowest Weber's shack will feature a Super 8 film,
ty-three California artists including Don form of construction, meant to serve the The Red Nurse and the Snowman. Craig
Ed Hardy, Shag, Paul Frank, and Sandow most basic or immediate needs. By defini- Stecyk will have a small shack on the roof
Birk will install their art shacks at Laguna tion, a shack is a place of disrepair made of the museum only visible through the
Art Museum. Most shacks will be open to of the most humble scrap materials like security camera monitors, and Kenny
visitors, and some will include interactive plywood, corrugated metal, and plastic. Scharf will have a trailer shack that’ll only
components such as music and film. According to the United Nations, more be shown at the opening night reception.
than one billion people (one-sixth of
Abandoning the rules of the art mar- the world's population) live in slums—a Ultimately, the artists in this exhibition
ket and pressure to create work to sell, art settlement made of shacks. In every sense defy the norms of rules set against them,
shacks allow the artists to create an ex- of the word, a shack is temporal. It even questioning the modes of mass produc-
periential environment, narrowing the implies to the more humorous, subver- tion, social restrictions, and perhaps
distinction between art and function, ob- sive, and misbehaved—to "shack up"—or global capitalism.
ject and environment. Though few of the
included artists have any direct experi-
ence with living in shacks, they are pres- Art Shack will be exhibited at the Laguna Art Museum in Laguna Beach, CA
ent in their collective memory through from June 13 through October 3. The opening night reception is June 12.

Museums 25

Angela Lynthia Ellefson


believed that a thought derived in a state conscious mind, revealing strange ar-
of consciousness is protected by our egos. chetypes and metaphors in place of con-
Jung views the ego as our sense of self and scious thoughts.
how we portray ourselves to the world.
Our egos put limitations on our real self, Nietzsche said, "You must have Chaos
which only emerges in dreams. This is within you to give birth to a dancing
a time when our unconscious mind lets star.” I create “Chaos when I approach a
go of the ideals and defense mechanisms blank canvas with a clear mind, when my
that we hold to protect us from those only intentions are to unleash movement.
things we feel make us vulnerable and Through this process, I gain the freedom
afraid. that’s lost within an immediate objective,
Angela Lynthia Ellefson: (above) Under The
Sea; (right page) Solar Plexus. Both works: and I find that my hands will solve a mys-
2010, black ink on acrylic paper, 12”x9”. Jung believed that all things can be tery that my intellect has struggled with
viewed as binaries, such as, good/evil, in vain. By avoiding the path, but going
male/female, love/hate, and black/white. instead where there is none, and then
I’m an artist that is heavily influenced Working in opposition to the ego, is the
"counter-ego," or what he refers to as the
leaving a trail is one way to produce art
that is different, that is personal; art that
by psychological thought and theories,
especially those of Carl Jung. I define “shadow”. The shadow represents the re- reveals a true sense of self in every piece.
my artwork as,“The Art of Chaos,” an jected aspects of ourselves, those things
art process which is derived through an we do not wish to acknowledge. It is here, Françoise Sagan once said, “Art must take
implementation of my beliefs, wherein “In Shadows,” that I wish to create. Us- reality by surprise.” Through the “Art of
the objective is to produce art that has no ing “Black” and “White,” I strip down the Chaos,” reality is lost in a dream. It is here
conscious beginning, but achieves dis- egos illusions of self to a primitive state. that we can float, where we can escape
tinctive end results. In theory, “Chaos” Using variations of color would be my the constraints of the world, bypass no-
makes no predictions and appears as a ego’s role of manipulating the artwork tions of rhyme and reason. My art is filled
state of disorder, making it very sensitive and thus creating an illusion of self, or an with archetypes, subconscious omissions,
to its initial conditions. In other words, a ideal of what art should be - an “imita- shifting realms of terror and confusion.
number of variations in the initial condi- tion of life.” The end result of such think- As shapes progress across the canvas, and
tion produces a chaotic dynamic system ing is a world of art that is merely a slight the lines collide with one another, just
that leads to even larger variations in misrepresentation of another. To stifle like a dream, awareness brings revelations
subsequent behaviors. Art, on the other the ego’s influence is to unleash the un- that have been waiting to emerge. Before
hand, is the process of deliberately or conscious mind, allowing pure thoughts long, faces, places, things form from the
inadvertently arranging elements and to emerge, thoughts that affect art in a shadows to reveal a subconscious pro-
objects in a way that affects our subcon- way that has not been brought to light but gression of thoughts. Upon a closer look,
scious or unconscious mind. merely lingered below the surface waiting one can see there is order in chaos, there
to be harvested by our dreams. is beauty in the mundane. Ultimately, the
The unconscious is the area of mind that artist is not a person endowed with free
stores collected information that has been According to Jung, dreams are a way of will who seeks his own ends, but one who
repressed and is not easily brought to our communicating and acquainting yourself allows art to realize its purpose within
awareness. These repressed memories with the unconscious. Dreams are not at- themselves.
can be episodes of trauma, or even sim- tempts to conceal your true feelings from
ple thought patterns, desires, and sense the waking mind, but rather they are a
impressions that remain far below the window to your unconscious. They serve
accessible surface. They are in essence, to guide the waking self to achieve whole- For more information about Angela Lyn-
inaccessible without psychoanalysis, but ness and offer a solution to the problems thia Ellefson, visit
can drive and control the conscious mind that arise. Dreams shift and sway in a way
through artistic forms of expression. It is that is not completely controlled by our

26 A|C|A June 2010


Jaime Scholnick


Jaime Scholnick:
(left) 2 Towers, 2009,
styrofoam, black but that isn't my focus either. There is a
gesso, acrylic paint,
desire to transform the refuse and not
(right) PS: Red Cross, simply use it as found. The Duchampian
2009, styrofoam,
gesso, acrylic paint, ideal – "any object becomes art because I
22”x10.5”x 8” say so" – is an outdated paradigm.

This latest series is a return to sculp- "Art" while the initial object it held has or I am always most satisfied with work
ture while exploring my obsession with eventually will become the refuse. that is open-ended allowing the viewer
line and love of drawing. The Styrofoam to make their own comparisons and nar-
pieces in their original shapes (no cut- This desire to push my work to new rative meanings. If contemporary art re-
ting involved) dictate the design. It taps levels energizes me. I think it was De flects current dialogues then the very use
into a subconscious, spontaneous way of Kooning who emphasized that it is para- of this material as the inception for the
working that is devoid of the prior, self- mount for an artist to reinvent herself creative work encompasses a full spec-
conscious need to tackle big issues didac- over and over again to keep it fresh. The trum of ideas and beliefs that I hold.
tically. I feel that not being so obvious in present work feels familiar but isn't. Cer-
meaning (as in my past series) makes this tainly there are the obvious references to
work stronger. This material was once Dubuffet or any number of artists that
debris, cushioning the far superior item have used Styrofoam. At the same time Jaime Scholnick is represented by CB1
that was desired. Here, the roles have the work is unlike anything that has pre- Gallery in Los Angeles. For more infor-
been reversed, elevating this material to ceded it. Some pieces are architectural mation, visit

28 A|C|A June 2010

“I N T H E S H A D OW S ”


J U L Y 10 - A U G U S T 10, 2010
O P E N I N G N I G H T J U L Y 10 8 P M - 12 A M


Santa Monica Civic Auditorium
January 13 - 16, 2011

The longest running art fair in Los Angeles and

the largest photography art fair in the country,
is celebrating its 20th anniversary this January.

Sponsors and advertisers who wish to celebrate

or partner on this special event can email:

Norman Kulkin, The Gallerist, 2008

w w w . A n A b s t r a c t L i f e . c o m

D r e a m w e a v e r Ê Ê 1 8 x 2 4 Ê Ê N o w Ê a v a i l a b l e Ê i n Ê a Ê l i m i t e d Ê e d i t i o n Ê p r i n t

PartÊofÊTheÊHappeningÊGallery Jun2-Jun30
Featuring ReceptionÊSatÊJun12
4047 Lincoln Blvd Marina del Rey CA 90292 310 305 ARTS (2787) T H E
Tues-Sat noon-7 Sun noon-5 closed Mondays HAPPENING