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Ace Gallery Institute Of Contemporary Art
at The Wilshire Tower, 5514 Wilshire Blvd Los Angeles, CA 90036
at The Wilshire Tower, 5514 Wilshire Blvd Los Angeles, CA 90036
Glass Garage Fine Art Gallery 414 N. Robertson Blvd.
West Hollywood, CA 90048
West Hollywood, CA 90048
Jerry Wayne Downs and His Surrealist Works at the
Glass Garage Gallery
Jerry Wayne Downs was born in Mount Olive, Alabama in 1934, the last of
six children. After graduating from high school, Downs served in the
Navy in the Pacific. After leaving the Navy, Downs joined the animation
department of Walt Disney Studios in 1956, working under two of the
famed "Five Old Men" who founded Disney Animation.
Downs went through the Animation and Training Apprentice Program at
Disney Animation. Despite having no prior art training, Downs was
promoted within six months to do animation work that would normally not
be entrusted to apprentices until six years of training in the program.
Downs worked as an animator at Disney Animation for ten years, working
on productions such as "Sleeping Beauty", "Mary Poppins", "The Sword in
the Stone", and "The Jungle Book".
Downs then left Disney Animation to pursue a career in fine art in
1967. He also served as the artist in residence for "Far West" magazine until
1972. Thereafter, Downs devoted himself entirely to his career as a
fine art painter in the Surrealist tradition.
Downs has had a number of significant museum solo exhibitions, and is
in a number of permanent museum collections, including at the Bowers
Museum, and the Museum of History and Industry in Seattle.
Glass Garage Gallery
Jerry Wayne Downs was born in Mount Olive, Alabama in 1934, the last of
six children. After graduating from high school, Downs served in the
Navy in the Pacific. After leaving the Navy, Downs joined the animation
department of Walt Disney Studios in 1956, working under two of the
famed "Five Old Men" who founded Disney Animation.
Downs went through the Animation and Training Apprentice Program at
Disney Animation. Despite having no prior art training, Downs was
promoted within six months to do animation work that would normally not
be entrusted to apprentices until six years of training in the program.
Downs worked as an animator at Disney Animation for ten years, working
on productions such as "Sleeping Beauty", "Mary Poppins", "The Sword in
the Stone", and "The Jungle Book".
Downs then left Disney Animation to pursue a career in fine art in
1967. He also served as the artist in residence for "Far West" magazine until
1972. Thereafter, Downs devoted himself entirely to his career as a
fine art painter in the Surrealist tradition.
Downs has had a number of significant museum solo exhibitions, and is
in a number of permanent museum collections, including at the Bowers
Museum, and the Museum of History and Industry in Seattle.
"Reserved Seating Only", 11" x 14", Oil on Board, 2005 (sold)
"Curious Dispatch", 24" x 30", Oil on Canvas, 2005
"Curious Dispatch", 24" x 30", Oil on Canvas, 2005
I Remember California (City Hall), 12 x 9", Oil on Canvas, 2007
The Spanners (Cloverleaf Overpasses),
12" x 9", Oil on Canvas, 2008
12" x 9", Oil on Canvas, 2008
The Tourists (Hotel Beverly Wilshire),
12" x 9", Oil on Canvas, 2007
12" x 9", Oil on Canvas, 2007
Downs works squarely in the Surrealist tradition. He currently is
working on two series, exclusively for the Glass Garage Gallery in West
Hollywood, CA:
"I Remember California" ( Downs takes architectural icons from Los
Angeles and reimagines them in a surreal and mythic way) and "The
Machine in the Garden (the Steampunk Project)"
Downs is one of the first fine artists to join the steampunk artistic
movement, which collides Victorian themes and visuals with 21st century
hopes and anxieties. The first paintings were created in collaboration
with performance art troupe Lucent Dossier and launched the history of
Commander Albert Cornwall Dewhurst, the protagonist of Downs'
steampunk paintings.
working on two series, exclusively for the Glass Garage Gallery in West
Hollywood, CA:
"I Remember California" ( Downs takes architectural icons from Los
Angeles and reimagines them in a surreal and mythic way) and "The
Machine in the Garden (the Steampunk Project)"
Downs is one of the first fine artists to join the steampunk artistic
movement, which collides Victorian themes and visuals with 21st century
hopes and anxieties. The first paintings were created in collaboration
with performance art troupe Lucent Dossier and launched the history of
Commander Albert Cornwall Dewhurst, the protagonist of Downs'
steampunk paintings.
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Santa Barbara
Agustin Castillo — Emotional Links
ARTAMO GALLERY presents “Emotional Links”, a solo exhibition with California
artist Agustin Castillo.
Castillo, born in San Jose, California, has lived most of his life in Mexico. He is
influenced culturally by both countries.
With a degree in Graphic Design in 1987 from Mexico, Agustin initiated his
process of professional development, working as a freelance designer for
different advertising agencies.
In 1997he taught design and art in several venues in the City of Torreón,
Coahuila, Mexico. Within two years he was exhibiting his work in Mexico and the
United States. Later, while taking part in several experimental art workshops in
Barcelona, Spain, Castillo widened his artistic interest.
He says: “The concept of development is essentially based on the interrelation
between color and texture inside the same space, just as the intention of
suggesting that different states of mind are brought together with the spontaneity
of the moment. This is how color takes on its own existence inside the different
compositions, creating its own interest, as the texture is based on the union of
different materials creating an energy that invades the spectator."
September 3 – 27, 2008.
Image below: Agustin Castillo, Abstract CXVI, 49" x 72", multi-canvas mixed media
(photo by the artist.
Agustin Castillo — Emotional Links
ARTAMO GALLERY presents “Emotional Links”, a solo exhibition with California
artist Agustin Castillo.
Castillo, born in San Jose, California, has lived most of his life in Mexico. He is
influenced culturally by both countries.
With a degree in Graphic Design in 1987 from Mexico, Agustin initiated his
process of professional development, working as a freelance designer for
different advertising agencies.
In 1997he taught design and art in several venues in the City of Torreón,
Coahuila, Mexico. Within two years he was exhibiting his work in Mexico and the
United States. Later, while taking part in several experimental art workshops in
Barcelona, Spain, Castillo widened his artistic interest.
He says: “The concept of development is essentially based on the interrelation
between color and texture inside the same space, just as the intention of
suggesting that different states of mind are brought together with the spontaneity
of the moment. This is how color takes on its own existence inside the different
compositions, creating its own interest, as the texture is based on the union of
different materials creating an energy that invades the spectator."
September 3 – 27, 2008.
Image below: Agustin Castillo, Abstract CXVI, 49" x 72", multi-canvas mixed media
(photo by the artist.
Mary Corse: White Light Paintings Featured at The
ACE
Mary Corse is a Minimalist. In 1968, after experimenting with shaped white
canvases and white Plexiglas boxes lighted from within, the artist discovered
what would prove to be her trademark material: tiny glass "microspheres" that
could be affixed to canvas in lieu of conventional paint. Working on large white
canvases, she laid out fields of shimmering microspheres, with smaller
squares of bare canvas inset at the corners or along the edges.
" It is almost too obvious to mention that apparent changes in the surface of a
Mary Corse painting – which occur with any change of light or point of view –
presuppose a passage of time greater or lesser duration. As much as these
changes are a function of perception, they are also a function of time. As the
viewer traverses laterally across the field of view for example, the work
changes with each instant, but in a way that corresponds directly to the time
required for the viewer to cover the distance." - Drew Hammond
ACE
Mary Corse is a Minimalist. In 1968, after experimenting with shaped white
canvases and white Plexiglas boxes lighted from within, the artist discovered
what would prove to be her trademark material: tiny glass "microspheres" that
could be affixed to canvas in lieu of conventional paint. Working on large white
canvases, she laid out fields of shimmering microspheres, with smaller
squares of bare canvas inset at the corners or along the edges.
" It is almost too obvious to mention that apparent changes in the surface of a
Mary Corse painting – which occur with any change of light or point of view –
presuppose a passage of time greater or lesser duration. As much as these
changes are a function of perception, they are also a function of time. As the
viewer traverses laterally across the field of view for example, the work
changes with each instant, but in a way that corresponds directly to the time
required for the viewer to cover the distance." - Drew Hammond
White Light Paintings, 1997-2003 Courtesy ACE Gallery
Renowned Mexican sculptor Jorge Marín returns to
Couturier Gallery with a recent series of bronze
sculptures in his fifth solo show Fracciones. This
exhibition of 15 new bronzes presents fragments
of both time and the physical elements included in
the body of bronze work Marín has created during
the past ten years. The figural bronzes also bear
witness to historical antecedents placed in a
decidedly 21st century context. The opening
reception for the artist is Saturday, September 13,
from 6-8 pm.
Fracciones is a compilation of actual components
of sculptures Marín encountered in his studio:
fragments of arms, heads, torsos, legs, all of
which were once parts of a whole. These
fragments were first cast in wax then reworked and
re-cast in bronze resulting in the final fracciones.
The final sculptures, sometimes enigmatic,
compel the viewer to question their past and divine
Couturier Gallery with a recent series of bronze
sculptures in his fifth solo show Fracciones. This
exhibition of 15 new bronzes presents fragments
of both time and the physical elements included in
the body of bronze work Marín has created during
the past ten years. The figural bronzes also bear
witness to historical antecedents placed in a
decidedly 21st century context. The opening
reception for the artist is Saturday, September 13,
from 6-8 pm.
Fracciones is a compilation of actual components
of sculptures Marín encountered in his studio:
fragments of arms, heads, torsos, legs, all of
which were once parts of a whole. These
fragments were first cast in wax then reworked and
re-cast in bronze resulting in the final fracciones.
The final sculptures, sometimes enigmatic,
compel the viewer to question their past and divine
Lillian Bassman (Brooklyn, New York,
born 1917), who is considered a top
fashion photographer, began her career
not as a photographer but as a painter at
the WPA until taking courses at Pratt
Institute in Brooklyn, New York.
In 1945, Bassman was appointed Art
Director at Junior Bazaar, giving projects
to photographers such as Richard
Avedon, Robert Frank and Paul Himmel
(now her husband).
Later, in 1947, she became the Art
Director at Harper’s Bazaar. Although
she was not given the same recognition
as Richard Avedon or Irving Penn, she
still is an important part of the history in
fashion photography.
born 1917), who is considered a top
fashion photographer, began her career
not as a photographer but as a painter at
the WPA until taking courses at Pratt
Institute in Brooklyn, New York.
In 1945, Bassman was appointed Art
Director at Junior Bazaar, giving projects
to photographers such as Richard
Avedon, Robert Frank and Paul Himmel
(now her husband).
Later, in 1947, she became the Art
Director at Harper’s Bazaar. Although
she was not given the same recognition
as Richard Avedon or Irving Penn, she
still is an important part of the history in
fashion photography.
Simon Bill and the Ovals at
Patrick Painter
For his first solo exhibition in the U.S. last month,
Bill presented a series of oval paintings for the
exhibition titled “The Loved One,” after Evelyn
Waugh’s humorous novel about Brits that have
relocated to Hollywood, joining the movie industry
and the funeral business.
As Bill’s debut in Los Angeles (at this gallery), the
title appropriately alludes to an outsider’s
fascination of this fair but dark city.
Patrick Painter
For his first solo exhibition in the U.S. last month,
Bill presented a series of oval paintings for the
exhibition titled “The Loved One,” after Evelyn
Waugh’s humorous novel about Brits that have
relocated to Hollywood, joining the movie industry
and the funeral business.
As Bill’s debut in Los Angeles (at this gallery), the
title appropriately alludes to an outsider’s
fascination of this fair but dark city.
| Gallery Notes September-October 2008 |
News of the Visual Arts
Beverly Hills
West Hollywood
Santa Monica edition
In Bill’s work, the oval shape is constant and the perfect form to explore. The
subjects range from colorful abstractions to representations of animals, and
other objects that are familiar, but somewhat
distorted. His works fluctuate between perfect containment within their shape to
bleeding edges
that spill over the sides of the canvas, at once both spontaneous and playful.
Patrick Painter 2525 Michigan Ave Unit A8 & B2 Santa Monica
CA 90404
subjects range from colorful abstractions to representations of animals, and
other objects that are familiar, but somewhat
distorted. His works fluctuate between perfect containment within their shape to
bleeding edges
that spill over the sides of the canvas, at once both spontaneous and playful.
Patrick Painter 2525 Michigan Ave Unit A8 & B2 Santa Monica
CA 90404
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Sheffield Courtesy of the artist
and Patrick Painter Inc.
and Patrick Painter Inc.
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Lillian Bassman: Elegance
Peter Fetterman Gallery is pleased to present the exhibition Elegance by renowned
photographer Lillian Bassman. This exhibition runs from September 20th to
December 31st, 2008 with a gallery opening on Saturday, September 20th, from 4 to
7 pm.
Peter Fetterman Gallery is pleased to present the exhibition Elegance by renowned
photographer Lillian Bassman. This exhibition runs from September 20th to
December 31st, 2008 with a gallery opening on Saturday, September 20th, from 4 to
7 pm.
Image above: Barbara Mullen, Essex House, c. 1950’s Copyright the Estate of Lillian
Bassman. Courtesy of the Peter Fetterman Gallery.
Her work was shown in Harper’s Bazaar in the 1940’s and 50’s, and then in the
1970’s was almost accidentally destroyed during housecleaning. It was not until
the 90’s that her work experienced a revival. With this new spotlight, Bassman
received the Agfa Life Time Achievement Award and the Dem Art Directors Club
Award in 1996. During the same year, Bassman began photographing again when
asked to photograph the Haute Couture collection for New York Times Magazine,
and the Autumn Collection for Neiman Marcus, as well as work for German Vogue.
She has exhibited her work worldwide. At 91 years old, Bassman continues to live
and work in New York City.
September 20th – December 31st, 2008 Gallery Opening: Saturday, September
20th, 4-7 pm.
Peter Fetterman Gallery Bergamot Station 2525 Michigan Ave.
Gallery A7 Santa Monica, CA 90404
Bassman. Courtesy of the Peter Fetterman Gallery.
Her work was shown in Harper’s Bazaar in the 1940’s and 50’s, and then in the
1970’s was almost accidentally destroyed during housecleaning. It was not until
the 90’s that her work experienced a revival. With this new spotlight, Bassman
received the Agfa Life Time Achievement Award and the Dem Art Directors Club
Award in 1996. During the same year, Bassman began photographing again when
asked to photograph the Haute Couture collection for New York Times Magazine,
and the Autumn Collection for Neiman Marcus, as well as work for German Vogue.
She has exhibited her work worldwide. At 91 years old, Bassman continues to live
and work in New York City.
September 20th – December 31st, 2008 Gallery Opening: Saturday, September
20th, 4-7 pm.
Peter Fetterman Gallery Bergamot Station 2525 Michigan Ave.
Gallery A7 Santa Monica, CA 90404
Mexican Sculptor at Couturier Gallery
Couturier Gallery 166 N La Brea Avenue, Los Angeles
Jorge Marín Toda la Realidad
Fisica All Physical Reality]
2008 24-½” x 11” x 11-½”
bronze and marble
Fisica All Physical Reality]
2008 24-½” x 11” x 11-½”
bronze and marble
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Artamo Gallery 11 West Anapamu Street Santa Barbara
California 93101
California 93101
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Endangered Bridges Over the Los Angeles River
The LA Conservancy has joined with Bergamot Station's Frank Pictures Gallery to
present an exhibition of paintings from Venice artist, David Eddington. We have
bridges over the Los Angeles River here as beautiful as anything over the Seine
or the Arno, but nobody ever sees them because they aren't told to look.
Eddington's images of LA's much maligned river reflect the environmental
consciousness of an artist awake to the city's excesses and the fresh perspective
of this English transplant to the hidden beauty of his adopted city. Symbolizing
mobility, progress, connection, and monumentality, the city's bridges stand for all
that is unique about Los Angeles, and Eddington's work hones in on this exactly.
As blue skies offer a glimpse of hope above the immense constructions,
polychromatic brushstrokes, hinting at graffiti, cut through the precise lines of the
architecture.
The fourteen L.A. River bridges were built as part of a vast construction program
between 1909 and 1938. They reflected the nationwide City Beautiful Movement
that sought to improve the character, morale, and civic virtues of residents through
epic architecture.
The LA Conservancy has joined with Bergamot Station's Frank Pictures Gallery to
present an exhibition of paintings from Venice artist, David Eddington. We have
bridges over the Los Angeles River here as beautiful as anything over the Seine
or the Arno, but nobody ever sees them because they aren't told to look.
Eddington's images of LA's much maligned river reflect the environmental
consciousness of an artist awake to the city's excesses and the fresh perspective
of this English transplant to the hidden beauty of his adopted city. Symbolizing
mobility, progress, connection, and monumentality, the city's bridges stand for all
that is unique about Los Angeles, and Eddington's work hones in on this exactly.
As blue skies offer a glimpse of hope above the immense constructions,
polychromatic brushstrokes, hinting at graffiti, cut through the precise lines of the
architecture.
The fourteen L.A. River bridges were built as part of a vast construction program
between 1909 and 1938. They reflected the nationwide City Beautiful Movement
that sought to improve the character, morale, and civic virtues of residents through
epic architecture.
The bridges form a unique
collection that helps illustrate
how Los Angeles became a
modern city. Many are slated for
alteration or demolition. The
Los Angeles Conservancy is
working to protect these iconic
spans by ensuring the City
explores all possible
alternatives to demolition. With
this exhibit, the Frank Pictures
Gallery joins the Conservancy's
effort to save L.A.'s bridges as
monuments to the city's history.
A substantial portion of sales
from this show will go to the
L.A. Conservancy in its fight to
save the bridges over the Los
Angeles River.
collection that helps illustrate
how Los Angeles became a
modern city. Many are slated for
alteration or demolition. The
Los Angeles Conservancy is
working to protect these iconic
spans by ensuring the City
explores all possible
alternatives to demolition. With
this exhibit, the Frank Pictures
Gallery joins the Conservancy's
effort to save L.A.'s bridges as
monuments to the city's history.
A substantial portion of sales
from this show will go to the
L.A. Conservancy in its fight to
save the bridges over the Los
Angeles River.
Image above: Macy Bridge, 2008, Metallic Acrylic on Linen, 45" x 50"
The exhibition runs from July 13th through September 9th, 2008.
Frank Pictures Bergamot Station Gallery A-5 2525 Michigan
Avenue Santa Monica California 90404
The exhibition runs from July 13th through September 9th, 2008.
Frank Pictures Bergamot Station Gallery A-5 2525 Michigan
Avenue Santa Monica California 90404
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Trio Show Work at TAG
Hugh Hamilton explores the art of pinhole photography in his new series titled
“Grainy Days”. By using a plastic camera and replacing the lens with a sheet of
brass with a tiny hole drilled into it, Hugh has discovered what happens when
you take Cartier-Bresson’s decisive moment and stretch it into a second or two;
the details disappear as movement blurs across the image. What remains is a
frozen indistinct grain ravaged dream. While Hugh Hamilton’s large scale black
and white prints are mysterious and evocative they retain elements and features
that are still recognizable, almost abstract but still definitely photographs.
Hugh Hamilton explores the art of pinhole photography in his new series titled
“Grainy Days”. By using a plastic camera and replacing the lens with a sheet of
brass with a tiny hole drilled into it, Hugh has discovered what happens when
you take Cartier-Bresson’s decisive moment and stretch it into a second or two;
the details disappear as movement blurs across the image. What remains is a
frozen indistinct grain ravaged dream. While Hugh Hamilton’s large scale black
and white prints are mysterious and evocative they retain elements and features
that are still recognizable, almost abstract but still definitely photographs.
Valerie Mendez’s work continues to explore
the idea of obscuring and revealing. Her use
of Plexiglas is an ideal medium for this, as it
can be painted, sanded, glazed and layered,
on one sheet over another, before attached to a
foundation of panel or canvas. Valerie leaves
parts of the Plexi clear, so that painting on a
lower level is revealed, and part of the image
obscured by painting on a top piece, engaging
the viewer in a certain degree of conjecture as
to what is apparent or hidden. Her work invites
you to look closer, deeper, through to the
bottom of things, enjoying the simple process
of observing as you go.
the idea of obscuring and revealing. Her use
of Plexiglas is an ideal medium for this, as it
can be painted, sanded, glazed and layered,
on one sheet over another, before attached to a
foundation of panel or canvas. Valerie leaves
parts of the Plexi clear, so that painting on a
lower level is revealed, and part of the image
obscured by painting on a top piece, engaging
the viewer in a certain degree of conjecture as
to what is apparent or hidden. Her work invites
you to look closer, deeper, through to the
bottom of things, enjoying the simple process
of observing as you go.
Valerie Mendez
Hugh Hamilton
In “Spirit Explored” Hayley Tolkin’s recent series of figurative paintings
brings to life moments of introspective stillness, while capturing the human
spirit. The sitter becomes the catalyst for the artist’s own reflections as she
navigates their interior world of beauty, sensuality and peculiarity. The
emotionality of these moments captured on canvas are heightened by the
provocative sensual interplay of lush vibrant color, bold articulated shapes
and richly textured brush strokes. “I am concerned with defining the moment”
The intentional ambiguity of these contemporary subjects and their setting,
invites the viewer to immediately engage in dialogue and experience the
vitality of spirit that lives within these forms.
brings to life moments of introspective stillness, while capturing the human
spirit. The sitter becomes the catalyst for the artist’s own reflections as she
navigates their interior world of beauty, sensuality and peculiarity. The
emotionality of these moments captured on canvas are heightened by the
provocative sensual interplay of lush vibrant color, bold articulated shapes
and richly textured brush strokes. “I am concerned with defining the moment”
The intentional ambiguity of these contemporary subjects and their setting,
invites the viewer to immediately engage in dialogue and experience the
vitality of spirit that lives within these forms.
TAG 2903 Santa Monica Blvd Santa Monica, CA 90404
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Hayley Tolkin
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Spencer Jon Helfen Fine Arts is celebrating its
fifth anniversary! In celebration they are
presenting a historically significant exhibition:
Figurative Art in California During the Modern
Period.
In this show we travel through time in
presenting paintings and sculpture that trace
the early Modernist interpretations of the figure
from as early as 1910 through 1945.
Displayed are important works by Gertrude
Partington Albright, Victor Arnautoff, Brents
Carlton, Francis de Erdely, Boris Deutsch,
Karoly Fulop, John Emmett Gerrity, Robert
Gilbert, Peter Krasnow, Helen Clark Oldfield,
Otis Oldfield, Burr Singer, Rex Slinkard,
Lucretia Van Horn, and many more of
California’s foremost Modernists.
The exhibition includes oil paintings,
sculpture, charcoal and graphite drawings,
and prints.
fifth anniversary! In celebration they are
presenting a historically significant exhibition:
Figurative Art in California During the Modern
Period.
In this show we travel through time in
presenting paintings and sculpture that trace
the early Modernist interpretations of the figure
from as early as 1910 through 1945.
Displayed are important works by Gertrude
Partington Albright, Victor Arnautoff, Brents
Carlton, Francis de Erdely, Boris Deutsch,
Karoly Fulop, John Emmett Gerrity, Robert
Gilbert, Peter Krasnow, Helen Clark Oldfield,
Otis Oldfield, Burr Singer, Rex Slinkard,
Lucretia Van Horn, and many more of
California’s foremost Modernists.
The exhibition includes oil paintings,
sculpture, charcoal and graphite drawings,
and prints.
Lucretia Van Horn (1882 - 1970)
Seated Woman Ca. 1927 Signed “L.
Van Horn” lower right Oil on canvas
30 x 21 inches
Seated Woman Ca. 1927 Signed “L.
Van Horn” lower right Oil on canvas
30 x 21 inches
Spencer Jon Helfen Fine Arts 9200 West Olympic Boulevard,
Suite 200, in Beverly Hills CA
Suite 200, in Beverly Hills CA
___________________________________
Figurative Art in California During the Modern Period
Rex Slinkard (1887 – 1918) was a student and later a teacher at the Los Angeles Art
Students League. As a promising student he received a scholarship to study in
New York under the famed painter Robert Henri. The influence of Henri in “Untitled
(Reclining Nude),” circa 1910, is evident. But Slinkard also drew upon his own
inspirations, not the least of which was his choice of subject – a nude male. His
work is considered to be some of the earliest Modernist work in California. Slinkard’
s life was cut short after he enlisted in the army in 1918 and, while awaiting
transport in New York, died in the influenza epidemic. This is the first major work of
the artist to be offered to the public in decades, given that virtually his entire output
was donated to Stanford University many years after his death.
The exhibition also includes works by a number of women artists, including
Gertrude Partington Albright (1874 – 1959); Helen Clark Oldfield (1902 – 1981),
whose 1926 “Mr. Piazzoni” is a skillful rendering of the influential Bay Area artist and
teacher Gottardo Piazzoni; Burr Singer (1912 – 1992), whose 1943 rendering of an
African-American sailor entitled “Letter from Home” reveals both the masculine and
sensitive attributes of the young man who has received a letter from his family; and
Lucretia Van Horn (1882 – 1970), who worked with Diego Rivera and who created
many stunning, detailed and sometimes fanciful images of Mexican culture,
including “Seated Woman,” circa 1927, in which the influence of Rivera is evident,
and which portrays a proud, indigenous woman dressed strikingly in pink and green
and seated on a yellow cube.
The exhibition features many other important and exquisite works of art.
Now to September 28.
Students League. As a promising student he received a scholarship to study in
New York under the famed painter Robert Henri. The influence of Henri in “Untitled
(Reclining Nude),” circa 1910, is evident. But Slinkard also drew upon his own
inspirations, not the least of which was his choice of subject – a nude male. His
work is considered to be some of the earliest Modernist work in California. Slinkard’
s life was cut short after he enlisted in the army in 1918 and, while awaiting
transport in New York, died in the influenza epidemic. This is the first major work of
the artist to be offered to the public in decades, given that virtually his entire output
was donated to Stanford University many years after his death.
The exhibition also includes works by a number of women artists, including
Gertrude Partington Albright (1874 – 1959); Helen Clark Oldfield (1902 – 1981),
whose 1926 “Mr. Piazzoni” is a skillful rendering of the influential Bay Area artist and
teacher Gottardo Piazzoni; Burr Singer (1912 – 1992), whose 1943 rendering of an
African-American sailor entitled “Letter from Home” reveals both the masculine and
sensitive attributes of the young man who has received a letter from his family; and
Lucretia Van Horn (1882 – 1970), who worked with Diego Rivera and who created
many stunning, detailed and sometimes fanciful images of Mexican culture,
including “Seated Woman,” circa 1927, in which the influence of Rivera is evident,
and which portrays a proud, indigenous woman dressed strikingly in pink and green
and seated on a yellow cube.
The exhibition features many other important and exquisite works of art.
Now to September 28.
Lora Schlesinger Gallery 2525 Michigan Ave , #T3 , Santa
Monica, CA
Monica, CA
Christopher Murphy "The Dawn of Luxury" Paintings and
Drawings
Opening Saturday, September 6, from 5 - 7pm September 6 - October 18, 2008
Drawings
Opening Saturday, September 6, from 5 - 7pm September 6 - October 18, 2008
Christopher Murphy View North from the Williamsburg
Bridge 2008 Oil on canvas
30 x 48"
Bridge 2008 Oil on canvas
30 x 48"
___________________________________
Christopher Murphy Jackson Street at Manhattan Avenue,
2008 Oil on canvas 35 x 48"
2008 Oil on canvas 35 x 48"
The third solo exhibition
by the young painter
Christopher Murphy
opens on Saturday,
September 6th at Lora
Schlesinger Gallery and
remains on view through
October 18 th.
In his new series, Murphy
explores the shifting
nature of the urban
landscape and the
mythology of the new
frontier. While the artist
lived in Brooklyn, he
became interested in how
the cityscape took on a
“cubist harmony of visual
density.”
As new buildings were
rapidly erected, the history
and heritage of the city
around him began to
disappear. He observed
that as wealth flowed into
the city center, the existing
classes were pushed
out. Like the ‘taming’
by the young painter
Christopher Murphy
opens on Saturday,
September 6th at Lora
Schlesinger Gallery and
remains on view through
October 18 th.
In his new series, Murphy
explores the shifting
nature of the urban
landscape and the
mythology of the new
frontier. While the artist
lived in Brooklyn, he
became interested in how
the cityscape took on a
“cubist harmony of visual
density.”
As new buildings were
rapidly erected, the history
and heritage of the city
around him began to
disappear. He observed
that as wealth flowed into
the city center, the existing
classes were pushed
out. Like the ‘taming’
of the American West, inner cities were being subdued and suburbanized.
Murphy was born in 1977 and grew up in Irvine, CA. He earned his B.F.A. from Art
Center College of Design in 2002, with the highest honor of graduation with
distinction, on a full tuition scholarship from the school. While at school, he also
studied independently with F. Scott Hess, Aaron Smith, and Peter Liashkov. His
earliest and most lasting influences have been Egon Schiele and Lucian Freud. His
work has been reviewed by The Los Angeles Times, Artweek, and Art Papers.
Murphy was born in 1977 and grew up in Irvine, CA. He earned his B.F.A. from Art
Center College of Design in 2002, with the highest honor of graduation with
distinction, on a full tuition scholarship from the school. While at school, he also
studied independently with F. Scott Hess, Aaron Smith, and Peter Liashkov. His
earliest and most lasting influences have been Egon Schiele and Lucian Freud. His
work has been reviewed by The Los Angeles Times, Artweek, and Art Papers.
| LA Louver, 45 North Venice Boulevard, Venice, California 90291 |
Nancy Reddin Kienholz, Pave Streets
The exhibition focuses on a series of
large-scale lenticulars. (Lenticulars
are works in which a printed image
switches to another image as the
viewing angle changes).
The lenticulars include a variety of
provocative images such as Christ on
the cross that changes into Father
Christmas, and ten-pin bowls that
change into women wearing burqas.
The impression formed in transit
between the two juxtaposed images
sets up a dialogue between the two
primary images. Several of the works
will also be exclusively text-based.
large-scale lenticulars. (Lenticulars
are works in which a printed image
switches to another image as the
viewing angle changes).
The lenticulars include a variety of
provocative images such as Christ on
the cross that changes into Father
Christmas, and ten-pin bowls that
change into women wearing burqas.
The impression formed in transit
between the two juxtaposed images
sets up a dialogue between the two
primary images. Several of the works
will also be exclusively text-based.
L.A. Louver Presents an Exhibition of New Work by
Nancy Reddin Kienholz
Nancy Reddin Kienholz
Nancy Reddin Kienholz has had a distinguished career exhibiting work she
has made in collaboration with her husband Ed Kienholz (1927-1994).
Whereas Nancy’s solo work has been seen in the context of exhibitions that
featured these collaborations (such as L.A. Louver’s Kienholz Tableau
Drawings, in March 2001), the forthcoming exhibition will be the artist’s first
solo show.
5 September through 4 October, 2008.
has made in collaboration with her husband Ed Kienholz (1927-1994).
Whereas Nancy’s solo work has been seen in the context of exhibitions that
featured these collaborations (such as L.A. Louver’s Kienholz Tableau
Drawings, in March 2001), the forthcoming exhibition will be the artist’s first
solo show.
5 September through 4 October, 2008.
___________________________________
Grey Matter: Rainer Andreesen at Hamilton Galleries
September 20th through October 4th 2008 Reception for the artist
Saturday September 20th 6PM to 9PM
Rainer Andreesen is a New York based artist. His one man show, Grey Matter
, is a powerful glimpse of portraiture that is bound to evoke a haunting
impression. Classical in style, these larger than life size canvases appear
black and white at first glance. However, on closer inspection the subtle use
of color reveals itself in the impasto highlights and detail masses in the
shadows. The heavy contrast of light lends itself perfectly to reveal the sitters
nobility and humanity. The canvases show the influence of John Singer
Sargent and Rembrant with a modern sensibility. In the wide range of
subjects Rainer has painted for this show, his intention is to show a study
that journeys through the sitter's life, to reveal the depth and emotion in a
portrait.
September 20th through October 4th 2008 Reception for the artist
Saturday September 20th 6PM to 9PM
Rainer Andreesen is a New York based artist. His one man show, Grey Matter
, is a powerful glimpse of portraiture that is bound to evoke a haunting
impression. Classical in style, these larger than life size canvases appear
black and white at first glance. However, on closer inspection the subtle use
of color reveals itself in the impasto highlights and detail masses in the
shadows. The heavy contrast of light lends itself perfectly to reveal the sitters
nobility and humanity. The canvases show the influence of John Singer
Sargent and Rembrant with a modern sensibility. In the wide range of
subjects Rainer has painted for this show, his intention is to show a study
that journeys through the sitter's life, to reveal the depth and emotion in a
portrait.
Hamilton Galleries 1431 Ocean ave Santa Monica, CA
Christian, oil on Canvas
48 X 72"
48 X 72"
Andrew, Oil on canvas 48" X
60
60
___________________________________
Image above: Heaven Vegas, by Jeff Gillette
Artist Statement: "These are things I do or have done that directly influence the
art that I create:
I spent the first 27 years of my life, living in Waterford, Michigan, a suburb of
Detroit. I experienced 27 hellish winters, childhood trauma, a failed marriage,
the death of three close friends and the discovery of escape routes: Art and
Travel.
I spend a major portion of my free time alone painting. My studio can be the
spare bedroom of my Orange County house, the garage, a cheap hotel room
in Vegas or Victorville, or out in the middle of the Mojave Desert.
Every couple of years, I go to India or some other developing country and
travel around on the cheap. There I accumulate ideas, sketches and visual
references for future art endeavors.
I am married to another artist, Laurie Hassold, who is a sculptor. We met
working on our MFA’s at Cal State Fullerton.
From 1987 to the end of 1989, I was a Peace Corps volunteer in the middle of
the Himalayas, in Nepal. I lived in a rural, farming village on a plateau
surrounded by mountains. To get there, I had to hike over five hours; there
were no roads, no electricity. There was running water though: I had to run
down the hill to go get it. I spent most of my time reading German Pessimistic
Philosophy and hanging out on the edge of cliffs, staring at the snow peaked
mountains in the distance over terraced rice fields.
I am obsessed with Disney, Dilapidation, and Destruction. In one way or
another, one or all three of these elements find a way into my work.
Since 1992, I spend my weekdays (except summer), from 8:00am to 2:48pm,
teaching art to high school students, many who have never had an art class
before in their lives. Afterwards, I come home to my wife and two cats, and eat
dinner. I do the dishes.
Artist Statement: "These are things I do or have done that directly influence the
art that I create:
I spent the first 27 years of my life, living in Waterford, Michigan, a suburb of
Detroit. I experienced 27 hellish winters, childhood trauma, a failed marriage,
the death of three close friends and the discovery of escape routes: Art and
Travel.
I spend a major portion of my free time alone painting. My studio can be the
spare bedroom of my Orange County house, the garage, a cheap hotel room
in Vegas or Victorville, or out in the middle of the Mojave Desert.
Every couple of years, I go to India or some other developing country and
travel around on the cheap. There I accumulate ideas, sketches and visual
references for future art endeavors.
I am married to another artist, Laurie Hassold, who is a sculptor. We met
working on our MFA’s at Cal State Fullerton.
From 1987 to the end of 1989, I was a Peace Corps volunteer in the middle of
the Himalayas, in Nepal. I lived in a rural, farming village on a plateau
surrounded by mountains. To get there, I had to hike over five hours; there
were no roads, no electricity. There was running water though: I had to run
down the hill to go get it. I spent most of my time reading German Pessimistic
Philosophy and hanging out on the edge of cliffs, staring at the snow peaked
mountains in the distance over terraced rice fields.
I am obsessed with Disney, Dilapidation, and Destruction. In one way or
another, one or all three of these elements find a way into my work.
Since 1992, I spend my weekdays (except summer), from 8:00am to 2:48pm,
teaching art to high school students, many who have never had an art class
before in their lives. Afterwards, I come home to my wife and two cats, and eat
dinner. I do the dishes.
Jeff Gillette: Disney, Dilapidation, and Destruction
Opens September 6 at James Gray Gallery
Opens September 6 at James Gray Gallery
James Gray Gallery 2525 Michigan Ave, Building D4, Santa
Monica, CA 90404
Monica, CA 90404
New Image Art Gallery 7908 Santa Monica Blvd , West
Hollywood
Hollywood
Neck Face: Cannibal Carnival
Opening August 16, 7-10 pm August 16 - September 20
Deanna Templeton with Hadassah Emmerich
October 3rd - 24th
in the project room October 3 - 24th Opening October 3, 7-10 pm
Opening August 16, 7-10 pm August 16 - September 20
Deanna Templeton with Hadassah Emmerich
October 3rd - 24th
in the project room October 3 - 24th Opening October 3, 7-10 pm
___________________________________
their covert stories. Their partial faces and bodies stand simply and elegantly as
vestiges of memories, events and experiences of the artist’s past. Furthermore,
Marín adds here a playful element in challenging the viewer to identify these
fragments with respect to their place in the artist’s oeuvre.
Born in 1963 in Michoacán, Mexico, Jorge Marín comes from a distinguished family
of artists. He is a graduate of the Escuela Nacional de Conservacion,
Restauracion y Museographica “Manuel del Castillo Negrete”, INAH-SEP, México,
D.F., and spent several years in museums doing conservation and restoration
before dedicating his full attentions to his own artwork.
vestiges of memories, events and experiences of the artist’s past. Furthermore,
Marín adds here a playful element in challenging the viewer to identify these
fragments with respect to their place in the artist’s oeuvre.
Born in 1963 in Michoacán, Mexico, Jorge Marín comes from a distinguished family
of artists. He is a graduate of the Escuela Nacional de Conservacion,
Restauracion y Museographica “Manuel del Castillo Negrete”, INAH-SEP, México,
D.F., and spent several years in museums doing conservation and restoration
before dedicating his full attentions to his own artwork.
Karla Klarin: Paintings & Drawings
September 6 – October 4, 2008 Reception: Saturday, September 6
from 3-6 PM
Lee Webster Shaw: Paintings
October 11 – November 8, 2008 Reception: Saturday, October 11
from 5-7 PM
September 6 – October 4, 2008 Reception: Saturday, September 6
from 3-6 PM
Lee Webster Shaw: Paintings
October 11 – November 8, 2008 Reception: Saturday, October 11
from 5-7 PM
Left image: Karla Klarin, Chop 40 X 72 inches Oil on Canvas
Right image: Lee Webster Shaw, untitled
Right image: Lee Webster Shaw, untitled
A love for the familiar landmarks of Santa Monica and Los Angeles inspires the
work of Los Angeles artist Lee Webster Shaw, who paints urban landscapes. She
is initially drawn to a scene because of the light, the colors, the angles of the
buildings and signs, and the shadows that cross the landscape. Like many
people living here (in LA), I spend a lot of time in my car and the scenes that I look
at begin to become sacred to me
work of Los Angeles artist Lee Webster Shaw, who paints urban landscapes. She
is initially drawn to a scene because of the light, the colors, the angles of the
buildings and signs, and the shadows that cross the landscape. Like many
people living here (in LA), I spend a lot of time in my car and the scenes that I look
at begin to become sacred to me
"In this new group of oils and drawings my passion for our landscape continues,
but in an increasingly abstracted direction. I'm interested less in the structures
themselves, than in how they, and we, occupy our landscape.
My use of paint is intentionally loose and non-literal, suggesting rather than
describing. The resulting paintings must surprise me or I destroy them and start
over. I walk the line between representation and abstraction." - Karla Klarin
____
but in an increasingly abstracted direction. I'm interested less in the structures
themselves, than in how they, and we, occupy our landscape.
My use of paint is intentionally loose and non-literal, suggesting rather than
describing. The resulting paintings must surprise me or I destroy them and start
over. I walk the line between representation and abstraction." - Karla Klarin
____
Schomburg Gallery Bergamot Station Arts Center 2525 Michigan
Avenue, E3A Santa Monica, CA 90404
Avenue, E3A Santa Monica, CA 90404