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C ONTEMPORARY

C ONTEMPORARY Allie Pohl 9 Rhea Carmi 24 Los Angeles 14 San Francisco 19 September 2010
C ONTEMPORARY Allie Pohl 9 Rhea Carmi 24 Los Angeles 14 San Francisco 19 September 2010
C ONTEMPORARY Allie Pohl 9 Rhea Carmi 24 Los Angeles 14 San Francisco 19 September 2010
C ONTEMPORARY Allie Pohl 9 Rhea Carmi 24 Los Angeles 14 San Francisco 19 September 2010
C ONTEMPORARY Allie Pohl 9 Rhea Carmi 24 Los Angeles 14 San Francisco 19 September 2010
C ONTEMPORARY Allie Pohl 9 Rhea Carmi 24 Los Angeles 14 San Francisco 19 September 2010
C ONTEMPORARY Allie Pohl 9 Rhea Carmi 24 Los Angeles 14 San Francisco 19 September 2010
C ONTEMPORARY Allie Pohl 9 Rhea Carmi 24 Los Angeles 14 San Francisco 19 September 2010
C ONTEMPORARY Allie Pohl 9 Rhea Carmi 24 Los Angeles 14 San Francisco 19 September 2010

Allie Pohl

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Rhea Carmi

24

Los Angeles

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San Francisco

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Allie Pohl 9 Rhea Carmi 24 Los Angeles 14 San Francisco 19 September 2010 | David
11 SEPTEMBER - 30 NOVEMBER
11 SEPTEMBER - 30 NOVEMBER
JORDI ALCARAZ
JORDI ALCARAZ

traslúcido

Exercicis de Desaparicio II (Exercises of Disappearance II), 2010, painting on cardboard and plexiglass, 67
Exercicis de Desaparicio II (Exercises of Disappearance II), 2010, painting on cardboard and plexiglass, 67 3/8 x 87 inches
Publication Available: JORDI ALCARAZ dibuixos
Publication Available:
JORDI ALCARAZ dibuixos
Essays by Peter Selz & Mariano Navarro English, German, Italian, Spanish Hardcover 144 Pages +
Essays by Peter Selz & Mariano Navarro
English, German, Italian, Spanish
Hardcover 144 Pages + 94 Illustrations $30
JACK RUTBERG FINE ARTS
JACK RUTBERG FINE ARTS
357 N. La Brea Avenue Los Angeles, CA 90036 Telephone (323) 938-5222 www.jackrutbergfinearts.com
357 N. La Brea Avenue
Los Angeles, CA 90036
Telephone (323) 938-5222
www.jackrutbergfinearts.com
2010.21. 80 X 72 INCHES • MIXED MEDIA ON CANVAS
2010.21. 80 X 72 INCHES • MIXED MEDIA ON CANVAS

Luc Leestemaker

Songs of the Unconscious

MEDIA ON CANVAS Luc Leestemaker Songs of the Unconscious 1020 Prospect, Suite 130, La Jolla, CA

1020 Prospect, Suite 130, La Jolla, CA 92037 • (858) 459-0836 www.madisongalleries.com

Daniel Aksten

MATERIAL

September 9 - October 10, 2010

Opening Reception:

Sunday, September 12, 2010, 5 - 7 p.m.

Opening Reception: Sunday, September 12, 2010, 5 - 7 p.m. 207 W. 5th Street Los Angeles,

207 W. 5th Street Los Angeles, CA 90013

CB1 Gallery Hours:

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

www.cb1gallery.com

213-806-7889

gallery@cb1gallery.com

EDWARD CELLA AR T + ARCHITECTURE
EDWARD CELLA AR T + ARCHITECTURE
EDWARD CELLA AR T + ARCHITECTURE
EDWARD CELLA AR T + ARCHITECTURE
EDWARD CELLA AR T + ARCHITECTURE

EDWARD CELLA

AR T + ARCHITECTURE

EDWARD CELLA AR T + ARCHITECTURE

Norman Kulkin, The Gallerist, 2008

Norman Kulkin, The Gallerist , 2008 AD Santa Monica Civic Auditorium January 13 - 16, 2011
Norman Kulkin, The Gallerist , 2008 AD Santa Monica Civic Auditorium January 13 - 16, 2011
Norman Kulkin, The Gallerist , 2008 AD Santa Monica Civic Auditorium January 13 - 16, 2011

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Feature Artist

Allie Pohl

In Her Own Words

EXHIBITIONSARTISTS

Allie Pohl

EXHIBITIONSARTISTS Allie Pohl Allie Pohl, Ideal Woman: 36-24-36 , 2010, polyurethane rubber and polyurethane memory foam,

Allie Pohl, Ideal Woman: 36-24-36, 2010, polyurethane rubber and polyurethane memory foam, 19.5”x9”x12”; mirror pedestal, 26”x28”; high definition two-channel video.

I am interested in critiquing how social norms and gender roles throughout Western history have influ-

enced the desired physical form that the female body takes on. Women are constantly inundated with images that culturally outline feminine beauty. Commercially packaged versions of beauty are often simply illusions created by advanced technology, such as digital image alteration and/or plastic surgery. My work reflects this repetitive effect. Society’s addiction to the ideal image has transformed beauty from an ideal to an attainable product. The image of the Western ideal has changed and evolved, and in response to the evolving technolo- gies, the materials I have used to represent the ideal have changed and evolved. I developed the “Ideal Woman” series by taking a “My Size Barbie” and dissecting her into pieces to make porcelain sculptures. I chose Mat- tel’s Barbie because she has been held up as the ideal since her creation over fifty years ago. A strong social contract that women endure is hair removal. It is one of the most basic forms of feminine upkeep that women must abide by in order to maintain cultural acceptance. The works Ideal Woman: Herma- then, Enkolpizo, and Ankulopous have natural sprouts growing out of places where women often remove

(shave, wax, pluck, laser, etc.) away their unwanted hair:

in the armpits, on the legs, and in the pubic area. Femi- ninity, by Western society’s standards, requires regular upkeep, just as in my series of pieces, the growth pro- cess of the sprouts require maintenance. The growth of sprouts articulates that, unlike Mattel’s presentation, the female condition is not plastic and shrink-wrapped. Just as women have been forced to “maintain” their body hair, the Ideal Woman: Astroturf A is an artistic commentary on society adapting technology to elimi- nate body maintenance. Astroturf, a synthetic material, does not require maintenance or upkeep. It is a material that is more “perfect” than the “real”. Ideal Woman: Evolution uses minimalist materials and aesthetics to guide the viewer through the evolution of hair removal on the bikini line and the progression of technologies through the stone, bronze, iron, and digi- tal ages. I compare the evolution of female hair removal with the historical progression of tool making technolo- gies to illustrate that women have altered their bodies throughout history consistent with the progression of these technologies. The advancements and progression of tools and materials have allowed women to easily al- ter their bodies, beginning with small cosmetic changes

EXHIBITIONS ARTISTS

Allie Pohl

EXHIBITIONS ARTISTS Allie Pohl Allie Pohl, Ideal Woman: Astroturf , 2010, porcelain, astroturf, 16”x6”. (center on

Allie Pohl, Ideal Woman: Astroturf, 2010, porcelain, astroturf, 16”x6”. (center on pedestal) as part of an installation.

and leading to larger modern day surgical procedures. The image of the ideal in today's globalized and tech- nologically connected society is now seen more quickly and more often. The "perfect” woman is constructed through the utilization of repetition, technology, and the idea of virtual. The virtual world has allowed indi- viduals to readily mediate what is projected and what is communicated. Yet, simultaneously, the reality of the "real" is getting much harder to find and understand. The advent and progress of technology has vastly changed our perception of what is real and of what ultimately matters. Women today are pushed to attain the idealized beauty that they see in magazines, on television, and all around them. This quandary leads to a conflict between the real and the mediated self. Ideal Woman: 36-24-36 is a series that allows the viewer to see, squeeze, and mold the figures, just like society molds the ideal. It was important to me to create a tangible object of the perfect dimensions (36” 24” 36”) of a woman’s figure, using high- tech industrial materi- als (polyurethane rubber and memory foam) to further discuss the utilization of such technologies to augment the female form. The emerging sculptural figures are designed to sit on polished, uniform mirror pedes-

tals, which project the reflection of the viewer back at them, allowing the viewer to compare themselves to the ideal. The pedestals resemble pyramids and make the sculptural figures appear godlike, further elevat- ing the “ideal” woman. The emerging sculptural forms and the pedestals are displayed and positioned in rep- etition, reminiscent of factory lines, again demonstrat- ing the cookie cutter nature of what our society sees as ideal. The idea of the real is constantly changing. With the advent of technology, it is easier to see and chan- nel the “ideal” and allow the “real” to transcend reality. Through the use of new social networks, everyone can easily mediate and curate an online presence with the “ideal” in mind. The media projects an ideal and that ideal is repeated, reproduced, and continually executed. This results in people starting to look the same in reality and the mediated reality.

An exhibiton of Allie Pohl’s Ideal Woman works, enti- eld Perfect, can be seen through October 15 at the Marina Abramovic Institute West Coast in San Francisco. For more information, visit bit.ly/MAIWest or alliepohl.com.

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EXHIBITIONS

LOS ANGELES

David Noonan David Kordansky Los Angeles [through Oct 3]

David Noonan David Kordansky Los Angeles [through Oct 3] David Noonan, Untitled (detail), 2010, screen -

David Noonan, Untitled (detail), 2010, screen- print on linen. Courtesy of David Kordansky.

Jordi Alcaraz Jack Rutberg Los Angeles [through Nov 30]

Jordi Alcaraz Jack Rutberg Los Angeles [through Nov 30] Alcaraz: (top) Exercicis de Desaparicio (III) ,
Jordi Alcaraz Jack Rutberg Los Angeles [through Nov 30] Alcaraz: (top) Exercicis de Desaparicio (III) ,

Alcaraz: (top) Exercicis de Desaparicio (III), 2010, painting on cardboard, plexiglass, wood, 67.38”x87” (bottom) El Temps, 2010, 19th-cent. sculpture and plexiglass, 32.13” x 20” x 16.13”.

Australian-born, London-based artist David Noonan utilizes a personal archive of found images to create hand-screened, collaged works on linen that straddle the lines between photography and history, rit- ual and performance, memory and fiction. Depicting costumed figures set against pat- terned backgrounds, these works borrow techniques not only from painting, but also from film, theatre, literature, and sculpture. By relying upon intuition, chance, and free association, Noonan composes these large- scale narrative tableaux so that their sub- jects seem to be caught between moments of introspection and exhibitionism, their implied theatricality alluding to the artifice and creative potential of performance. Noonan has long been interested in us- ing patterned textiles as a graphic coun- terpoint to the figure. In this new body of work, the figures emerge from and retreat into images of Japanese Boro textiles that echo the restrained and simplified sensi- bility of modernist painting. The material- ity of these Boro textiles, fashioned from stitched-together rags of previously dyed and bleached fabric, dissolves into the art-

ist’s aesthetic and is used to create a range of painterly and textural effects. Noonan’s works function as collage on a dense array of levels: each is a combination of materials, images, and narratives that creates a historical mood which paradoxi- cally cannot be attributed to any particu- lar moment in history. Different grades of material are joined together so that their textural qualities play crucial roles in the arrangement of the total composition. In cinematic terms, the work can be described as a kind of montage, with shifts between one image or piece of linen and another rendered with varying degrees of subtlety or violence. While the digital age has produced a seemingly infinite proliferation of images whose sources and subjects are instantly recognizable but whose surfaces have been compromised, Noonan’s images take ma- teriality as one of their central subjects. Because the hand-screening process high- lights their physical presence, the work forges an uncanny connection between techniques of mechanical reproduction and time-honored, even ancient, ideas of craft.

Traslúcido, a comprehensive exhibition of Jordi Alcaraz’s poetic art, brings together large and small scale works which tran- scend the categories of paintings, sculp- tures, and drawings as they blend all media, employing assemblage-like manner and installation. Conceptually, Alcaraz extends notions of perspective beyond the realms of the physically-seen. The surfaces of paint- ings and drawings can be pierced or peeled back in a manner that forces the viewer to consider more deeply the properties of the physical and ephemeral. Utilizing various tools and materials much like an alchemist, Alcaraz creates realms as ambiguous as those of his Cata- lonian antecedents, such as found in the minimal spaces of Miro or in the surreal other-worldly landscapes of Dali. Where his elder contemporary Antoni Tapies cre- ated astounding walls and doors - marked and eroded - evidencing both the surreal

and the real, Alcaraz extends those notions, going beyond surface. Even boundaries created by frames enclosing his paintings and drawings are altered in unexpected ways, as in the assemblage entitled Catch- ing a Drawing in Mid-Air, which calls into question the distinction between interior and exterior. Alcaraz opens new realms in a Zen-like manner through the use of bend- ing, tearing and puncturing materials in unpredictable ways. In El Temps an antique carved wood figure gently extends her hand through its vitrine, melting away one dimension into another. Alcaraz’s aesthetic, verging on the minimal, brings the consideration of beauty and meditation to uniquely profound levels in conceptual art today. [The exhibition will be accompanied by the a comprehensive book on the artist entitled, “Jordi Alcaraz dibuixos,” which includes text from leading art critics Mariano Navarro and Peter Selz.]

Jeff Sheng’s first solo exhibition also has the distinction of being the first ever to feature the photographs of service men and woman currently affected by the “Don’t Ask, Don’t Tell” policy, which mandates the immedi- ate discharge of those persons in the United States military who are allegedly or openly gay, lesbian, bisexual, or transgender. The show will feature 20 previously unseen images that eschew the statically-posed photographs of the Sheng’s first volume of work. In this collection, Sheng increasingly activates and dramatizes his subjects, fur- ther illuminating the unique and charged personal narrative behind each portrait.

EXHIBITIONS

Within the last year, the Sheng’s work has been featured by The New York Times, the Los Angeles Times, and Time magazine. In addition, veteran news journalist Bob Woodruff conducted an ex- tended interview with Sheng and

a few of the service members fea-

tured in the “Don’t Ask, Don’t Tell” series for ABC World News with Diane Sawyer. Several individual works have also found their way into such prominent collections as the Sir Elton John Photography Collection and the Human Rights Campaign collection, among many others.

Jeff Sheng Kaycee Olsen Los Angeles [through Oct 23]

Jeff Sheng Kaycee Olsen Los Angeles [through Oct 23] Jeff Sheng, Tristan and Zeke, Honolulu, Hawaii,

Jeff Sheng, Tristan and Zeke, Honolulu, Hawaii, 2010, photograph.

Material, a solo show of the work of Los Angeles artist Daniel Aksten, continues the artist’s ongoing series of highly finished

grid paintings. It also includes an addition-

al body of work focusing on vertical stripes.

Scrutinizing optics and the painting itself, under Southern California’s patented sun- shine, Daniel Aksten forges mathemati- cal structure, chance, and an astonishing degree of craft to produce paintings that challenge the viewer to re-examine how much one thinks they can actually see. Best known for his fastidious paintings of geo- metric solids composed by chance through

a system involving the roll of a die, Aksten’s

Material introduces an additional form to his visual vocabulary, extending the explo- ration of contrast, color and reflection. Ver- tical stripes, like vertical blinds on a sliding glass door obscure former layers, interpos- ing inside onto outside of painterly space. A trademark element has become the round- cornered translucent or white textured screen that finishes and haunts each work like the faint awareness of our own blind spot, reminding us that everything we see is surrounded by the expanding and shrink- ing flesh visage of our own countenance.

Daniel Askten CB1 Los Angeles [through Oct 10]

Daniel Askten CB1 Los Angeles [through Oct 10] Daniel Askten, Composite (GRB) , 2010, composite finishes

Daniel Askten, Composite (GRB), 2010, composite finishes on metal, 12”x12”.

(GRB) , 2010, composite finishes on metal, 12”x12”. Ron Rizk ’s exhibition, New Paintings , fea-
(GRB) , 2010, composite finishes on metal, 12”x12”. Ron Rizk ’s exhibition, New Paintings , fea-

Ron Rizk’s exhibition, New Paintings, fea- tures masterfully rendered oil paintings that combine carefully chosen objects in

theatrical architectural settings, creating a dialogue between object and setting, past and present. Rizk’s meticulous paintings arrange odd and unconventional objects hand chosen from thrift stores and antique shops in shallow spaces, achieving a hyper real illusion of space. The objects become characters that sit on stage-like platforms, or in weathered shallow niches, creating

a sense of performance; questioning their

existence, their function and their personal history. The meticulous attention to detail and the veneration for each item is a trib- ute to the object’s history and is an hom- age to the old masters with their reverence for methodical painting. The likeness and the essence of his subject is captured with precision and wit. The East Gallery features Cindy Kane’s exhibition Cover to Cover,

which includes new innovative paintings on magazine covers by the East Coast artist. The paintings take journalism and text in a new direction, placing her imagery on the cover and in the forefront of the art maga- zine world. Her work is an observation of the political and environmental tumult of our times. These paintings work with the relics of childhood, images from the natu- ral world, and current events to explore the transitory nature of the art world.

events to explore the transitory nature of the art world. Ron Rizk & Cindy Kane Lora

Ron Rizk & Cindy Kane Lora Schlesigner Santa Monica [through Oct 16]

(left) Rizk, Float, oil on panel, 24”x36” (bellow) Kane, White Hawk on New Yorker, acrylic on New Yorker magazine cover, 11”x9”. Both 2010.

(bellow) Kane, White Hawk on New Yorker , acrylic on New Yorker magazine cover, 11”x9”. Both

EXHIBITIONS

Max Presneill Garboushian Beverly Hills [through Oct 16]

Max Presneill Garboushian Beverly Hills [through Oct 16] Max Presneil: (top) MP , 2009, oil and
Max Presneill Garboushian Beverly Hills [through Oct 16] Max Presneil: (top) MP , 2009, oil and

Max Presneil: (top) MP, 2009, oil and enamel on canvas, 96”x84”. (bottom) Elaborate Plans, 2010, oil and enamel on canvas, 84”x96”.

Known for his stewardships of the origi- nal RAID Projects international residency and exhibition programs in Santa Ana and then at the Brewery; followed by a remark- able tenure as director of Bergamot’s Mark Moore Gallery where he internationalized the program; and currently helming the small but salient Torrance Art Museum where he has been making a run at putting TAM on the international regional-mu- seum map, Max Presneill is nothing if not ambitious. He also used to produce under- ground dance and art raves, and he never got in any real trouble, because he did it with confidence, style, panache — and be- cause the end results were magical. His own private painting practice (a lifelong pursuit that has been little-known in LA until now) is, on one level, a kind of Art History rave party, where no one gets hurt, and the beats are insistent and heart-thumping. Another oft-used but ultimately helpful way into the work is to say that each paint- ing is a like curated survey unto itself, a swashbuckling array of styles in a violent- ly perfect storm of counterintuitive color choices and a smorgasbord of media. Pres- neill says he views composition as problem- solving technique, moving from passage to

passage figuring out what is required, like optical Sudoku. Any given canvas has the cultivated chaos of an English garden seen through a kaleidoscope, with a fecund riot of shapes, colors, textures, and gestures. Every image is at heart an armature for abstractions, which elements are painstak- ingly assembled into figures through an ad- ditive process more like collage, but unmis- takably hand-wrought. As a curator, he’s in a discourse with the whole world; as a visual artist he’s in dia- logue with himself. It’s not about taste, or restraint, but it is about balance and a bi- zarre dystopian poetry. There’s a tempta- tion to pile up typically unloving words like pastiche, literary, neurotic, and psychedel- ic; but Presneill’s fusion of roughly-hewn Deco, uncomfortable Rousseau, and defi- ant pre-Raphaelite allegory is the tidiest, most engaging kind of refraction. It’s remi- niscent of that famous quote about the De- generate Art Salon in 1937, “Whoever sees and paints the sky green and the fields blue ought to be taken out and shot.” If that’s the paragon of painting’s virtue, then when it comes to Presneill, “degenerate” doesn’t even begin to cover it. – Shana Nys Dambrot

doesn’t even begin to cover it. – Shana Nys Dambrot Josh Dorman George Billis Los Angeles

Josh Dorman George Billis Los Angeles [through Oct 16]

(top) Raptors, 2010, Ink, acrylic, antique paper on panel, 28”x36”. (bottom) Archipelago, 2010, ink, acrylic, antique paper on paper, 34”x60”.

, 2010, ink, acrylic, antique paper on paper, 34”x60”. Look the Other Way , an exhibition

Look the Other Way, an exhibition of new work by New York-base artist Josh Dorman, includes mixed media on panel and works on paper. Josh Dorman uses antique maps to find his way exploring and expanding the spaces between borders. His topographical navigations forging latitude and longitude with ink, pen, and pencil draws the viewer deep into his fantastical voyages. The New York Times has called him a “postmodern Brueghel.” Dorman becomes a wilderness guide teaching us a new way to navigate space. What began with drawings on an- tique ledger pages in 2000 has evolved into a fully formed mature body of work. Dor- man writes, “I love paper that has lived a life and shows its age. I use only topo- graphic maps printed before 1940 (when a

I use only topo- graphic maps printed before 1940 (when a full palette of colors was

full palette of colors was introduced) and imagery from books published before pho- tography became common.” This sense of a narrative that exists outside of our reality in the same way that dreams do is a recurring element in Dorman’s work - they contain their own internal and intuitive logic and journey (often literally with creatures on walkways on voyages through the works). In “Archipelago,” a five-foot long work on paper, birds, scorpions, lizards, even clocks, creep along a raised path running across the entire width of the piece. In the blue and purple and orange water/sky fantastical fish swim and fly among clouds and moun- tains. Destinations like far off lands exist on different islands in the scene and like all of Dorman’s work, the more you look the more you find - castles on craggy mounds, animals perched on their own little bits of rock, a ship sailing through it all. The ex- hibition also includes twelve new works on panel and six graphite drawings.

EXHIBITIONS

In Broad Daylight, an exhibition of large- scale scratchboards by David Trulli, offers a contemplation on the concept of America formed in the 20th century and that concept’s relevance in the modern world. In his cityscapes framed by empty office interiors, Trulli infuses each piece with an uneasy sense of anticipation – as if something mo- mentous is just out of view. Accord- ing to Trulli, “For years we have all had the feeling that something big is about to happen, and indeed many things have. Wars, economic collapse, political polarization and more have all occurred right out in the open, in broad daylight. Still, we stand dormant as we wait for the un- defined event.” This exhibition marks the first time Trulli has presented images ex- clusively set in daylight, without losing the noir feeling for which his work is known.

David Trulli works in scratchboard: a white clay-coated board, covered with black ink. Fine knives are used to delicately scrape

David Trulli Robert Berman Santa Monica [through Oct 9]

David Trulli Robert Berman Santa Monica [through Oct 9] away the ink, creating the image. A

away the ink, creating the image. A former cinematographer, Trulli compares working in scratchboard to lighting a film set: “it starts out black and you add light.”

David Trulli, In Broad Daylight, 2010 ink, clay and varnish on Masonite, 48”x108”.

Lari Pittman Regen Projects Los Angeles [through Oct 23]

New Painting, an exhibition of paintings and works on paper by Lari Pittman on view at Regen Projects II, presents seven large-scale and three mid-size paintings. This will be coupled with Orangerie, a com- prehensive survey of Lari Pittman’s work from 1980-2010, exhibited at Regen Proj- ects. This historical exhibition will include over 100 works on paper, hung salon-style over the artist-designed trellis pattern that will adorn the gallery walls. Orangerie will provide a unique and unparalleled oppor- tunity to view the history and breadth of Pittman’s artistic practice. His work incor- porates a cacophony of color, the blending of figuration and abstraction, an intricate and multi-faceted surface, and an expansive

and oscillating image field to create an idiosyncratic visual vocabulary rooted in — and in constant discourse with — the history of painting. A for- mal and conceptual tension is always at play. This tension is structured and informed by ever-present dichotomies:

renewal/decay, secular/sa- cred, decorative/grotesque, hot/cold, sweet/toxic, taste/ kitsch, mannered/unpredict- able, transparency/opacity. [In addition to this show, a monograph on Lari Pittman’s work will be released by Rizzoli in the spring of 2011. ]

work will be released by Rizzoli in the spring of 2011. ] Lari Pittman, Installation view:

Lari Pittman, Installation view: New Paintings, Regen Projects II. Courtesy of Regen Projects. Photograph by Brian Forrest.

Heather Gwen Martin Luis de Jesus Santa Monica [through Oct 26]

Drawing from comics, television, and ev- eryday situations, Heather Gwen Martin’s abstract paintings explore playfully violent scenarios where household objects morph into cartoon weapons and imagined forces battle each other against bright, acidic- hued backgrounds. With this new body of work, entitled Recreational Systems, Martin continues to subvert the traditional rules of painting, offering canvases whose flat spac- es open up “three-dimensionally” in ways

that skew balance, proportionality, and composition. Contrasting this tension and awkward balance is her clean, con- trolled brush work and highly saturat- ed colors, qualities directly influenced by her experience over the past decade as a colorist for DC Comics using the precision of computer technology.

Heather Gwen Martin, Blind Spots, 2010, oil on linen, 48”x64”.

precision of computer technology. Heather Gwen Martin, Blind Spots , 2010, oil on linen, 48”x64”. Exhibitions

EXHIBITIONS

Dirk Schreber Blum & Poe Los Angeles [through Oct 23]

Dirk Schreber Blum & Poe Los Angeles [through Oct 23] Dirk Skreber, Deborah, Stephanie, and I

Dirk Skreber, Deborah, Stephanie, and I, 2010, acrylic, enamel, polyurethane, spray paint and foam tape on panel, 79” x 118.5”. Courtesy of the artist and Blum & Poe, Los Angeles.

Robert Kingston Ruth Bachofner Santa Monica [through Oct 16]

Kingston Ruth Bachofner Santa Monica [through Oct 16] Robert Kingston, White Woolen Trousers , 2010, acrylic

Robert Kingston, White Woolen Trousers, 2010, acrylic on canvas, 72” x 60”.

Robert Fry & Massimo Vitali

M+B (with Francois Ghebaly) Los Angeles [through Oct 16]

M+B (with Francois Ghebaly) Los Angeles [through Oct 16] (top) Massimo Vitali, Sacred Russian Pool ,
M+B (with Francois Ghebaly) Los Angeles [through Oct 16] (top) Massimo Vitali, Sacred Russian Pool ,

(top) Massimo Vitali, Sacred Russian Pool, Tur- key #3140, 2009, chromogenic print on Diasec, 60”x 72”. (bottom) Robert Fry, Red 6, 2010, oil, acrylic, enamel, pencil on canvas, 78”x112”.

Dirk Skreber’s new paintings radiate with

a graphic intensity and a high-voltage pop

color palette. By layering strip after strip of foam tape atop panels rolled with varnish, polyurethane, watercolor, enamel, spray paint, fluorescent paint and primer – but absent of oil or any conventional brush- work – Skreber creates images of slightly obscured and brooding (mostly female) models, set against highly refined orna- mental surfaces. These “pluck” paintings

as they are called - due to the intricate re-

moval of foam tape by careful burning or picking – suggest an uneasy exchange be- tween the figure and their surrounding pic- torial space. Models’ faces and bodies only come to the fore when Skreber picks or burns away the foam tape to varying levels

of thickness, revealing his subject purely through shadow and line – not with paint. This “reveal” allows his subjects to emerge from behind the picture’s surface rather

than on top of it, filling each portrait with

a mysterious sense of psychological de-

tachment. For nearly ten years, Skreber

has been investigating portraiture by way

of foam tape painting; gaining a new tech-

nical proficiency previously exemplified

in his renderings of car crashes and aerial

fly zones. In 2002, Skreber exhibited foam

tape paintings of superheroes and soldiers whose images were culled from the Inter- net. These physically dominant men and overly sexualized women became central

to his practice and continue to play an im-

portant role in his most recent series.

Robert Kingston’s work draws viewers into

a visual narrative where the story rests be-

tween innumerable layers of acrylic. The gestures, erasures, pigmented smudging, scraping and dripping on his canvases evidence Kingston's continued investiga- tion into the possibilities of paint. Kings- ton’s work is achieved through a trust of his process of getting lost in cerebral and material spaces before finding resolve. The artist slowly builds his paintings by de- veloping and modifying ideas applied in previous layers. At times, the paint is con- trolled and then allowed to find gravity, and

is then contained again, creating deep veils

of acrylic. Within the canvases’ hazy spac- es are thrusts of color along with fits and starts of lines, doodles and sketches. Kings- ton’s breathy, atmospheric movements of paint collect and dissipate to form organic landscape impressions, yet remain firmly planted in the language of abstraction. His soulful works of art speak to a range of emotions, and open a window into the art- ist’s own inner space and influences. Shift- ing from placid to energetic, structured to improvised, sober to playful, Kingston’s paintings are a steady, engrossing read that gradually reveal their history and resolve.

A

part of event series, Kunsthalle, previ-

part of event series, Kunsthalle , previ-
A part of event series, Kunsthalle , previ-
A part of event series, Kunsthalle , previ-

ously at Francois Ghebaly, this introduc- tion to the work of English painter Robert Fry, curated by Jane Neal, features the art- ist’s refreshing interpretation of figura- tive painting. In this series, Fry continues along themes of sexuality, the relationship between artist and subject — willfully con- fused by his choice of perspective – and the potent energies within that dialogue. Pro- duced mainly in acrylic and oil, his work tests the boundaries of abstract figurative painting as he explores the types and de- grees of tension that exist between the fig- ures that appear in every work. He locates his figures in a non-space, a vacuum lacking the naturalistic elements of the human en- vironment. There is no gravity, no tangible compass point by which to navigate. The viewer is absorbed entirely into Fry’s imag-

ination wherein spatial perspective is ren- dered through a complex series of vantage points. Exhibiting at M+B is Italian photog- rapher Massimo Vitali’s unique views of the

rites and rituals of modern-day leisure. Fea- turing new work from 2009 and 2010, this exhibition includes eight large-scale color photographs from Austria, Croatia, Sicily, and Turkey. Vitali’s photography occupies

a place between documentary realism and

the surreal. His landscapes are casually in- habited by figures such as sunbathers and tourists, whom he captures while perched 20 feet in the air on a platform waiting for the right moment. Ever interested in the ways in which people interact with their environment and each other, Vitali’s images satisfy a sociological desire as well as a voy- euristic longing to observe unawares.

EXHIBITIONS

Deborah Aschheim Edward Cella Los Angeles [through Oct 23]

Nostalgia for the Future, a new exhi- bition of Deborah Aschheim, presents the artist’s singular drawings and ar- chitectural installations of eccentric modernist landmarks of Southern

California. Embodying a discourse about memory, place, and the unfulfilled promis- es of our future, her art reflects her passion for L.A.’s quirky modernist icons, which are quickly vanishing in front of our eyes. These structures, formerly the symbols of Southern California’s utopian dreams, are

vanishing in front of our eyes. These structures, formerly the symbols of Southern California’s utopian dreams,

now forlorn and crumbling commercial towers, buildings, and centers. Recent public controversies surround- ing the future of the Century Plaza Hotel and the effort to stabilize the Theme Building at LAX manifest for Aschheim as a tragic and incessant

sense of obsolescence.

Aschheim as a tragic and incessant sense of obsolescence. Aschheim, detail of Encounter (The Theme Building

Aschheim, detail of Encounter (The Theme Building so beautiful encased in scaffolding), 2009, ink on Dura-lar, 25”x40”.

Maberry + Walker Maloney Los Angeles [through Oct 30]

For more than twenty-five years, Phillip Maberry and Scott Walker have created one-of-a-kind ceramic sculp- ture, reliefs and objects for gallery and museum installations, in addition to having fulfilled numerous residential and commercial commissions. Best known for their eccentric, intensely colorful style associated with the ‘Pat- tern and Decoration” movement, Ma- berry and Walker’s most recent body of work, Pool Toys, continues the in- vestigation of constructed figurative forms. Utilizing color and design, ar- ticulated in the artists’ characteristic playful manner where their emphasis

forms. Utilizing color and design, ar- ticulated in the artists’ characteristic playful manner where their emphasis

has always been on modern in- terpretations of past decorative styles, their work is infused with an optimistic spirit. The Pool Toys af- fect clever spatial gambits within compressed, de- ceptively simple interplays of sur-

af- fect clever spatial gambits within compressed, de- ceptively simple interplays of sur- Maberry + Walker,

Maberry + Walker, Camo, 2010,

glazed ceramic, 22”x18”x13”

face ornamenta- tion and sculptural articulation. Although the artists work in the time-honored ce- ramic tradition, they are continually ex- panding the focus of their work to include new technologies, including digital trans- fer processes and glow-in-the-dark glazes.

Michael McMillen LA Louver Los Angeles [through Oct 30]

Michael McMillen, from Lighthouse . In Michael McMillen ’s Lighthouse , black and white digital

Michael McMillen, from Lighthouse.

In Michael McMillen’s Lighthouse, black and white digital motion pictures created

by the artist are projected onto a billboard screen attached to the building’s roof. The film element embraces both a narra- tive of Lighthouse and a series of related paintings and unique sculptures that will also be on view. Each of the sculptures has been created out of found materials of humble origin, such as scraps of wood, string and cardboard, which have then been cast into bronze. The installation, sculptures and paintings are set within an environment designed by McMillen:

are set within an environment designed by McMillen: at the entrance a wall of corrugated metal

at the entrance a wall of corrugated metal guides the visitor through two doors that open into a dimly lit space. After enter- ing, the weathered doors automatically close through a series of wheels, cables and pulleys that span the width of the gal- lery. The visitor is then presented with a series of illuminated bronze sculptures and oil paintings in two gallery spaces. Lighthouse is displayed in a third gallery.

of illuminated bronze sculptures and oil paintings in two gallery spaces. Lighthouse is displayed in a

Jeff Sonhouse Martha Otero Los Angeles [through Oct 23]

Jeff Sonhouse Martha Otero Los Angeles [through Oct 23] Jeff Sonhouse, Mateo Manhood aka Buzz Kill

Jeff Sonhouse, Mateo Manhood aka Buzz Kill (detail), 2010, oil on fiberboard, 16” x 13.25”.

New York-based artist Jeff Sonhouse’s exhi- bition, ‘Better Off Dead,’ Said The Landlord, allows him to deconstruct the accepted the- ories of ownership and invites us to reexam- ine how we interpret relationships of power, as tenants of an overbearing architect. With alluding portrayals of glorified facades, he creates a frictional energy of immortality. The exhibition will include Sonhouse’s re- cent portraits of oracular figures that evoke familiarity, such as Papi Shampoo, bearing a Jesus like stance and demeanor. We’re in- stantly drawn to the silky smooth satin tex-

tured vestment and its vividly deep aqua- marine and violet colors. Draped over a brash black and white pinstripe suit with ashen hands in an iconic Pantocrator pos- ture. The background palette harmonizes burgundy with black, phthalo blues and rich purples into a contemporary vision of a halo. Sonhouse’s unorthodox use of materials successfully disorients the view- ers prescribed sense of space. Even more irresistible are Sonhouse’s masks and the intense gaze concealed behind them.

SAN FRANCISCO

EXHIBITIONS

In The Longest Day of the Year, Los Angeles-

based Anoka Faruqee presents new paint-

ings that are surprisingly freehand and sub- jective in nature, all while maintaining the discipline and precision characteristic of her practice. An artist's book, Field Notes, published in conjunction with the exhibi- tion, reveals Faruqee's remarkable painting process through a series of photographs documenting her studio and her intricate, laborious practice. Faruqee mixes hundreds

of subtly shifting colors to create luminous

color fades in which patterns seem to grad-

ually disappear into the painting's ground

color. The illusion looks like the effect of

a translucent airbrush or painterly spill.

But in fact these works are created slowly and deliberately, one handmade "pixel" at a time. The handmade "pixels" are tripod or asterisk forms derived from Islamic tile ge- ometry, but painted freehand, without the use of rulers or grids. For Faruqee, who is second generation Bangladeshi-American

with an Islamic heritage, using the tripod or asterisk form is not about cultural pos- turing. As she notes, "Because someone centuries ago spent a good amount of time playing with a ruler and a compass, I can lift from that tradition a kind of readymade handmade pixel. Those experiments were indeed the mathematical forerunners of current digital technology. I'm not interest- ed in merely quoting or "describing" these forms, forever suspending them in their historical moment. I use them in the pres- ent tense for what they are and what they can become." Faruqee paints her modular gestures on subtly increasing curves, start- ing only with a loose plan. Many decisions about the shape and direction of the curves happen during painting. The paintings un- fold in the making, revealing an unpredict- able, paradoxical order. The "handmade pixels" become metaphors for a process that balances control and accident, mirroring both nature and computer modeling.

Anoka Faruqee Hosfelt San Francisco [through Oct 16]

Anoka Faruqee Hosfelt San Francisco [through Oct 16] Faruqee: (top) Equator (bottom) Pink S-Curve both: 2010,
Anoka Faruqee Hosfelt San Francisco [through Oct 16] Faruqee: (top) Equator (bottom) Pink S-Curve both: 2010,

Faruqee: (top) Equator (bottom) Pink S-Curve both: 2010, acrylic on linen, 78.75”x71.75”.

Judith Belzer / Nina Zurier George Lawson San Francisco [through Sept 25]

Bay Area-based painter Judith Belzer is ex- hibiting selections from two recent series of her ongoing explorations into the un- derpinning structures and porous surfaces of the world, titled respectively, Order of Magnitude and Order of Things. The mod- est scale of these paintings belies the am-

bition and scope of Belzer’s reach, as she moves freely from aerial to crystalline and cellular perspectives in her bid for intimacy with the natural order. Reminiscent of Ce- zanne’s late watercolors, Belzer’s assured open brushwork and thin washes suggest she has found herself a home in the center

of things, and an open hand to pull us into

the organizing principle she has uncovered. Nina Zurier, a Bay Area photographer,

is also showing a new series of work. The

show is titled Conditions and Connections

and runs concurrent with her installation

at California State University Sacramento’s

Library Gallery, titled Make Me One with Everything. With these most recent works, Zurier has pushed the capacity for open- ended story telling already inherent in her

signature juxtaposition of images. She se- lects the individual shots of her compound photographs with great consideration for

their composition and color, and the re- sulting form, along with the simple fact of their containment within a frame, creates

a

strong visual bond. More significantly,

it

is her uncanny intuition, her selection

for leaping poetry and the triggers of memory that assures the elastic cohesion of these scroll-like narra- tives, what Zurier has called, “the continuity of dis- continuity.”

(right, above) Judith Bel- zer, The Order of Things #8, 2010, oil on canvas, 6” x 12”. (right, below) Nina Zurier, Because The Night, 2010, unique pig- ment print from digital photograph, 4.5” x 24” (frame: 15.5” x 34.5”).

, 2010, unique pig - ment print from digital photograph, 4.5” x 24” (frame: 15.5” x
, 2010, unique pig - ment print from digital photograph, 4.5” x 24” (frame: 15.5” x

EXHIBITIONS

Nellie King Solomon Brian Gross San Francisco [through Oct 30]

King Solomon Brian Gross San Francisco [through Oct 30] Nellie King Solomon, Magenta and Hooker’s Green

Nellie King Solomon, Magenta and Hooker’s Green Rings 1, 2010; acrylic and mixed media on mylar; 96” × 96”.

Nicole Buffett

Andrea Schwartz San Francisco

[through Oct 1]

Buffett Andrea Schwartz San Francisco [through Oct 1] Nicole Buffett, Reveal/Re-Veil II , 2010, mixed media

Nicole Buffett, Reveal/Re-Veil II, 2010, mixed media on panel, 30” x 30”.

Michael Hall & Whitney Lynn Patricia Sweetow San Francisco

[through Oct 16]

Lynn Patricia Sweetow San Francisco [through Oct 16] (above) Michael Hall, BES_Battery Bluff_BD- FF , 2010,
Lynn Patricia Sweetow San Francisco [through Oct 16] (above) Michael Hall, BES_Battery Bluff_BD- FF , 2010,

(above) Michael Hall, BES_Battery Bluff_BD- FF, 2010, oil on canvas, 60”x72”. Whitney Lynn:

(left) Doug (still), 2010, video DVD loop, 15 min. (below) installation view

2010, video DVD loop, 15 min. (below) installation view Continuing the her exploration of move- ment

Continuing the her exploration of move- ment and chance through energetic, ges- tural abstractions on mylar, Bay Area artist Nellie King Solomon’s has created dramatic new works that reflect “experiences of great western landscapes, interior and exterior terrains, [and] the shock of unabsorbed events.” In this recent work, Solomon ex- plores vibrant new color palettes in ma- genta, fluorescent orange, and Hooker’s green. Working on a large table and using custom-made glass trowels, the artist ap- plies pigment to thick sheets of mylar in broad, sweeping gestures. Bold, deliberate strokes merge with Solomon’s signature pours and drips, while large, opaque areas give way to thin, iridescent skim coats. An

intentionally uneven work surface creates unpredictable pools and flows, adding an element of chance to otherwise calculated compositions. Solomon uses unconven- tional materials to create luminous, shim- mering surfaces. In places, the paint glitters as if sprinkled with diamond dust, while other areas appear corroded, as if dripped with battery acid. Close inspection reveals microcosmic topographies and tiny “geo- logical eruptions.” The translucency of the mylar support lends the paintings a unique luminescence, “allow[ing] the edges to dis- appear into the wall and light to penetrate through clear pools of medium. The paint- ings subvert architecture, each pour and ring tears a hole through the wall.”

California-based artist Nicole Buffett’s paintings of abstract landscapes allow the viewer to interpret the suggestive spiritual possibilities of deeper consciousness. By using a variety of organic and synthetic mediums on panel, Buffett creates abstract landscapes that act as topographical worlds, which invite the viewer into visceral and meditative experiences. This allows Buf- fett to map the relationship of things close and far, of things felt, and of things invis- ible. Buffett sees her work this way: “My paintings describe an environment built

upon the concept of pliancy and versatility. The abstract landscapes I create are spaces wherein freedom from the representational enables deeper spiritual possibilities. My choice to use a variety of both traditional Art materials alongside non-traditional materials, reflect my own relationship to the world as a place of integration. Thick, fleshy layers of reclaimed house paint, Earth pigment, spices, sand, ink, spray paint and resin all become a hyper organ- ic environment that speaks to where I am environmentally. ”

For his MFA exhibition at Mills College, Michael Hall presented several large-scale oil paintings depicting animals in degrees of stress as metaphoric stand-ins for cor- porate malfeasance and social excess. The paintings were oil on canvas, deftly brushed, with a subdued palette. In his new Reclamation, Hall's recent series of oil paintings and installation, his focus turns to surveillance bunkers constructed during WWII, located on what is now known as the Golden Gate National Recreation Area. Overlooking the Pacific Ocean, the area proved strategically important, providing the bunker/look-out posts a watch-guard to the East.The look-out posts happen to be located in some of the more spectacular natural landscape that California has to of- fer. Hall's paintings contrast that backdrop of WWII history with the spectacular envi-

ronment in which these edifices exist. For Hall, “the paintings imagine the bunker's further dissolution into the landscape and highlight thier isolated and largely forgot- ten past". Whitney Lynn’s Doug, an instal- lation of video, photography and objects, records her experience with a rescue rab- bit that was found living in the environs of Golden Gate Park. Learning that rabbits are behaviorally similar to feline's, she eagerly became the adoptive parent. The rabbit proved to have other thoughts of domestic- ity, proceeding to gnaw on her wiring, nest in her furniture, and use her flat as the litter box. Doug encompasses Whitney's adven- ture with her rabbit through photographs, video of the rabbit, and items of clothing, all part of “a desire to set something down in physical form, to preserve evidence of a happening”.

AD Santa Monica Civic Auditorium January 20 - 23, 2011 original artwork, Norman Kulkin www.artla.net
AD Santa Monica Civic Auditorium January 20 - 23, 2011 original artwork, Norman Kulkin www.artla.net

AD Santa Monica Civic Auditorium January 20 - 23, 2011

original artwork, Norman Kulkin

www.artla.net

EXHIBITIONSARTISTS

Rhea Carmi

FROM DARKNESS TO LIGHT by Roberta Carasso

R hea Carmi’s art is a profound search to make visual the darkest to the

most illumined aspects of life that hu- man beings and nature can experience. Through a succession of piercing abstract narratives -- from grim ashes of suffering, to the emergence of healing, compassion, and the ebullient joy of freedom – Carmi shares with us what she witnessed first hand. Born Israeli, and married for 49 years to a Holocaust survivor, the sub- ject of suffering is second nature. Carmi has learned through direct experiences that all-consuming darkness can cast an enormous shadow on life, yet, it is also a powerful force that can bring tremen- dous spiritual transformation. In reading the essay, Voices of Silence, by the noted French writer and art critic, André Malraux, Carmi realized that her art must be about the millions of voices that have been silenced in the never-end-

ing cycles of inhumanity. Consequently,

in Voices of Silence, the silence that Car-

mi set out to create becomes deafening;

her message of darkness is powerfully presented, yet its conclusions are surpris- ingly optimistic and hopeful In September, 2010, as part of a group exhibition at the Gotthelf Art Gallery in La Jolla, CA, she will show selected works from her Voices of Silence series. In a retrospective exhibition, held in 2008 at Soka University in Aliso Viejo, CA, Car-

mi showed the complete series – paint-

ings and assemblages, 77 works of art,

on two floors, a total of 8,000 square feet. Voices of Silence is composed of three groups: Humanities Struggles, Humani-

ties Resilience, and Everlasting Spirit. For

the Soka University exhibition, Carmi added her Carnaval paintings. They are about a heightened sense of color, mag- ic, sound and people engaged in revelry.

of color, mag- ic, sound and people engaged in revelry. Rhea Carmi, H.S XXIV , 1996,

Rhea Carmi, H.S XXIV, 1996, acrylic and oil canvas, 48” x 60”. Courtesy of the artist.

This exhilaration came from a trip to Bra- zil and the joy of her grandchildren, play- ing with them and becoming a child once again, not as it was in the early years of war-torn Israel, but in the freedom of the American landscape. With the brightness of each canvas, there is a subtle sugges- tion of pretense as masked faces, promi- nent at Carnivals, recur in overlapping patterns. Carmi’s latest series, Our Fragile Earth, came about when Carmi observed how the life force within fire-scorched fields are driven to regenerate and soon carpet the landscape with green leaves, shrubs, colorful flowers, and welcoming insects and animals. This body of work concerns an earthquake she lived through and lo- cal fires she observed.(Destruction and Rebirth is a portion of Our Fragile Earth) In a bright red orange painting she in- cludes twigs burned in the Northridge fire; and on the lower left are scorched pistachios shells signifying that the earth continually bestows a bounty of unique fruits for nutrition and beauty. In a lu- minous green painting, bedecked with local plants, Carmi portrays the once de- cayed and burned becoming green and renewed. Many of the pieces in Our Fragile Earth are created from backs of stretch- ers bars, giving a sculptural appear- ance where viewers look into a scene as if moving through layers of foliage. The art mixes assemblage and sophisticated Abstract Expressionist figurations, a for- mat rarely applied in this manner. As in all Carmi’s art, Destruction and Re- birth exudes strength and energy that the artist’s particular process demands and her personality conveys naturally. Our Fragile Earth is made entirely of re- cycled matter that Carmi gathers in her daily workday as an artist, wife, mother, grandmother, and citizen. These creative “inventions” are assembled from papers,

old box springs, string, and assorted ma-

terials. In Carmi’s hands ordinary “stuff ”

is transformed into meaningful artistic

statements. Through manipulation of common matter, she makes us aware of the need to care for the earth, be mindful of adding trash to trash, and the ensu- ing dilemma of having to contend with mountains, even oceans of discarded remnants. Carmi tells of our need to consciously consider materials that come into and go out of our life, how to use what is needed, how to be aware of the effects trash has on what we can see directly – in the smaller scope of our personal environment -- and in what is less apparent, but also victims of trash – the immense areas of distant lands, sea, and sky. Carmi’s concern is to create art that awakens viewers to the wonderment of life, whether it is the magnificent and resilient spirit of the human being or nature. And with a touch of practical- ity and humor, some of Carmi’s newer works are of bright plaids as she mixes leftover colors, giving them a recycled life, rather than adding them to the long list of detritus. Amazingly we see that in the hands of an artist, the most common substances can take on brand-new and delightful meanings as fragility is trans- formed into an everlasting strength. Fortunately, Carmi’s own affable char-

acter, like her art, is lively and optimistic. Voices of Silence and Our Fragile Earth continue the message that the ever-last- ing human spirit will always triumph over voices that are silenced. And with

a caveat, Carmi shows that nature can

triumph as well. In her art, she makes us aware of both sides of each issue; when there is suffering, it can lead to joy; when there is destruction, it can be realized in renewal. But into these equations she adds the need for protection and preser- vation, guarding our precious life force,

EXHIBITIONS ARTISTS

Rhea Carmi

our precious life force, EXHIBITIONS ARTISTS Rhea Carmi Rhea Carmi: (top) Untitled , 2009, wood paper
our precious life force, EXHIBITIONS ARTISTS Rhea Carmi Rhea Carmi: (top) Untitled , 2009, wood paper

Rhea Carmi: (top) Untitled, 2009, wood paper pigment shells on cotton, 60” x 60” x 24”. (bottom) Barren Earth, 2009, tar, burlap, dirt, twine, and paint on 9 panels, 30” x 96”.

and not allowing it to succumb to harm. Thus Carmi’s art continuously comes full circle, returning to possibilities that could silence and destroy, or heal and nurture. Truly the art of Rhea Carmi stands apart. Its profound messages stir the soul.

Rhea Carmi's Voice of Silence series is on display through Oct 28 at Gotthelf Art Gal- lery in La Jolla, CA. Our Fragile Earth will soon be exhited at Frank Picture Gallery. For more information, see rheacarmi.com.

EXHIBITIONSARTISTS

Patricia Krebs

Living in the Clouds In Her Own Words

I enjoy taking some common expressions, such as “cultural

baggage,” “where’s your head?” or “a free spirit” literally; they become fun, interesting images once I think about what they mean if not taken as a figure of speech. Living in the Clouds was born from this idea, primarily because I feel the clouds are a good place to be when I want to create. But then the painting be- came more than just that. Each of my painting contains a whole story: to me, the little town be- low the clouds is a cute town, one of those places that feel very

picturesque to the visitor’s eyes. But a small town is a whole dif- ferent thing when you live in it;

it can become a claustrophobic

space. So, for the main character of this piece, it seemed like the only escape from this reality was to go on top of the clouds. I want to create characters who are able to find a personal space of free- dom, where they can be who they want to be without being concern of the others’ judgment. So, this cold, black and white

little town, filled with layers of texture and depth, is opposed to

a warm, colorful world of infi-

nite possibilities where nothing

has been set yet. I like showing

a monochromatic universe that

we see at first sight and then an-

universe that we see at first sight and then an- Patricia Krebs, Living in the Clouds

Patricia Krebs, Living in the Clouds, 2010 acrylic on canvas, 36” x 48”.

other one, richer and more detailed, that seems to come from our imagina- tion. But, isn’t the world of our fantasy,

our desires and our dreams, as real and as much of our daily life as the first?

Patricia Krebs grew up in Buenos Aires, Argentina. Her work has been exhibited throughout Los Angeles. For more informa- tion, visit www.patriciakrebs.com.ar.

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