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JUNE 2010


450 harrison avenue boston ma 0 2 11 8 6 1 7 . 6 9 5 . 0 2 11 w w w. w a l k e r c o n t e m p o r a r y. c o m


Christian Faur
The Land Surveyors
June 17 - July 17, 2010

.....The Land Surveyors.... 20,000 hand cast encaustic crayons..... 30 x 60 inches..... 18 panels..... 2010.....

Kim Foster Gallery

529 West 20th Street N Y, NY 10011 212.229.0044
info@kimfostergallery.com www.kimfostergallery.com
JUNE 2010
12 Museums
14 Gallery News

19 New York
21 Washington
21 Chicago
22 Boston
21 48
22 Philadelphia
23 Denver
23 Santa Fe

44 Los Angeles
48 San Francisco

48 47 44 49
36 Maria OMalley
40 Linda Vallejo
53 Christy Rogers
54 Angela Ellefson
12 20 13
56 Jaime Scholnick



PUBLISHER Richard Kalisher Advertising Inquires

EDITOR Donovan Stanley advertising@acamagazine.com

561.542.6028 / Richard Kalisher
DESIGN Eric Kalisher
On the Cover Martn Reyna,
Untitled (2), 2009, watercol- CONTRIBUTING WRITERS
or on paper, 26 x 20 from his Gloria Huwiler, Mark Olival
exhibition at the Hogar Collection Roberta Carasso 2010 R.K. Graphics. All Rights Reserved.
in New York City. See page 20. Content courtesy of represented institutions.
Piet van den Boog
I wanted each and every one of them, but choosing one meant losing all the rest
May 13 June 19, 2010

520 West 24th Street New York New York 10011
tel 212 691 6899 fax 212 691 6877
email info@mikeweissgallery.com web www.mikeweissgallery.com

Piet van den Boog / Close to reborn, without fear of the unknown...without fear of further losses / 2010 /
Oil and acrylic on black steel / 59 x 86 1/2 inches (149.86 x 219.71 cm)
Santa Monica Civic Auditorium
January 13 - 16, 2011

The longest running art fair in Los Angeles and

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

Sponsors and advertisers who wish to celebrate

or partner on this special event can email:


Norman Kulkin, The Gallerist, 2008


(clockwise from bottom left) Lee Bon-

tecou: detail - Untitled, 1976, pencil
and colored pencil on prepared paper.
15x11. MoMA, the Judith Rothschild
Foundation Contemporary Drawings
Collection Gift; detail of Untitled,
1980-1998, welded steel, porce-
lain, wire mesh, canvas, and wire.
7x8x6. MoMA, gift of Philip Johnson
(by exchange) and the Nina & Gordon
Bunshaft Bequest Fund; Marilyn Mint-
er: Orange Crush, 2009, enamel on
metal, 108x180. Courtesy of John
and Amy Phelan; Gimme, 2008, c-
print, 70 x 97.25 AP. Courtesy of
the artist & Regen Projects, Los An-
geles. All work respective artists.

Lee Bontecou her visual language. While her art defies Marilyn Minter
MoMA New York easy classification, suggestions of infinite MOCA Cleveland
[through Aug 30] expanse, anxiety, and threat are perva- [through Aug 15]
sive, expressed, for example, in the black
Lee Bontecou first exhibited her steel- circular forms that have been insistent One of the most adventurous and ac-
and-canvas sculptures at New Yorks motifs in her work. The cavernous black complished artists working today, Mari-
prominent Leo Castelli Gallery in the voids of her steel-and-canvas sculptures lyn Minter uses bold, luscious colors and
1960s. Although they bear little resem- and the deep black circles of her drawings glossy surfaces to depict extreme close-
blance to the Minimalist and Pop art conjure associations as varied as volcanic ups of women often fashion models to
dominant at the time, these wall-mount- craters, jet engines, eye sockets, and cos- examine beauty and decadence while ex-
ed sculpturesmade in New York be- mic black holes, invoking what the artist posing the pleasures and dangers of glam-
tween 1959 and 1967elicited both has described as the visual wonders and our. Minters world, though steeped in
critical acclaim and curiosity. Writing horrors of the natural and man-made fashion and glitz, is one in which beauty
about one of them, a reviewer asked, Is worlds. In 1971 Bontecou left New York has gone awry. She says that her art is in-
it apterodactyl? A spaceship? An outsize City. Since then she has worked primarily vested in the moment when everything
artichoke or a monstrous whorl of gi- in rural Pennsylvania, where her engage- goes wrong. . . when the model sweats.
ant flower corollas? Bontecous imagi- ment with the natural world has become This exhibition presents a focused selec-
native vision encompasses all of these more pronounced. The sculpture sus- tion of Minters work centered on one of
possibilities. For decades she has left pended at the center of this installation her most recent major paintings, Orange
her work untitled, preferring not to re- a slowly whirling galaxy of forms she Crush, 2009, a 9 x 15 foot triptych. Ac-
strict the ways in which it may be un- worked on for eighteen yearsrepresents companying the painting are five related
derstood. Bontecous excitement about a fulfillment of her longstanding desire to large scale photographs and an acclaimed
the Space Age and her memories of the create art that celebrates no barriers, no video, Green Pink Caviar, 2009, originally
Second World War are fundamental to boundaries, all freedom in every sense. featured on a billboard in Times Square.

12 A|C|A June 2010


Combining Art and Architecture


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

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

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

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

Museums 13

Bringing Contemporary African Art to Los Angeles

by Gloria Huwiler

Contemporary African art is something

few international collectors have access
to in the States, mainly because few gal-
leries exist that carry the work. Yet both
continental and diasporic African Art-
ists abound and their rare and innovative
work is testimony to the creativity and
insight that exists. Actress and gallery co-
founder Gloria Huwiler speaks about dis-
covering her interest in the field and the
creation of Anajuwa Gallery.

In 2006 I had recently graduated from

Brown University and moved to New
York to pursue acting. I also took up a
part time job in a contemporary art gal-
lery in the Time Warner Center, Millenia
Fine Art. My mother has always been a
collector of African Art, and I grew up
with a keen appreciation and love of the
field. Coming from this background, a
part time job in a gallery was an ideal
creative day job while I immersed my-
self in New Yorks acting scene. Carlene
(above) An Opening at Anajuwa with actress Sydney Tamiia Poitier, writer/director/producer
Soumas, the gallery director at Millenia Oz Scott, Anajuwa founder Gloria Huwiler; (below) Vincentio Phiri, Chibede, 48 x 36.8.
Fine Art asked her new assistants to put
together ideas for prospective exhibitions
by researching emerging artists, offering
the possibility of an exhibition at Millenia
Fine Art, New York, if she approved of
the concept. I immediately turned to the
plethora of contemporary African Artists
Id been exposed to at home and put to-
gether a presentation for a group exhibi-
tion of Zambian painters and sculptures
entitled Realizing an African Renais-
sance. With the help of Carlene Soumas
and various people on the ground in
Zambia, the exhibition took place within
the next six months and featured nine
Zambian painters and one sculptor.
The exhibition at Millenia Fine Art was
well received by collectors, and several of
the artists' work sold out quickly, show-
ing a strong demand for this new, unseen
work. In the course of preparing for the
exhibition, I realized just how underde-

14 A|C|A June 2010


African artists in Los Angeles. In my time

here, I have found the the exposure of
contemporary African art to be lacking,
as in New York. Apart from the superbly
curated exhibits at the Fowler, few com-
mercial galleries carry contemporary Af-
rican art and none specialize in it.
While few generalizations can be made
on so broad a field, contemporary Af-
rican art is a fusion of traditional influ-
ences with modern and contemporary
styles and forms. Debate often abounds
on the nature of the work and the ques-
tion of authenticity is a commonly held
concern of intellectual art critiques. How
African does contemporary African Art
has to be, in order to be considered au-
thentic? The question seems utterly inane
when one considers that art is an expres-
sion of an artists experience, his vision
a projection of himself on reality. Con-
temporary African art is precisely that,
an expression of modern Africa through
the eyes of its artists, and the result is the
rich, hybrid, combination of influences
that post modernism has wrought on Af-
rican itself.
Sydney Tamiia Poitier and Sir Sidney Poitier at an Anajuwa opening.

veloped and underexposed the field of art is slowly entering mainstream con-
contemporary African art in the United sciousness and getting the necessary ex- Anajuwas inaugural exhibition, Inte-
States was. Only one contemporary Afri- position and exposure it deserves. gration, was displayed at Anajuwa Gal-
can artist, Yinka Shonibare, has been sold Having seen the success of the work lerys Melrose. The opening reception was
at auction in Sothebys Contemporary at the Time Warner center, I was confi- hosted by Sydney Tamiia Poitier, and at-
Section. No auction at present is dedicat- dent of the interest in contemporary Af- tended by Sir Sidney Poitier, Bernie Casey,
ed exclusively to the field, despite the fact rican art if well curated and exhibited Gina Ravera, and various members of
that contemporary African art of superb in a central and well exposed venue and the African American and entertainment
quality continues to be produced, and have been committed to continuing to community in Los Angeles. The exhibi-
auctions in contemporary Chinese, Lat- provide access and exposure to contem- tion features the work of artists William
in, Indian, and European work take place porary African Artists since. Bwalya Miko, Mwamba Mulangala, Geo-
regularly. Rather, the mainstream repre- In following my acting ambitions by phrey Phiri, Vincentio Phiri, Rikki Lungu,
sentation of African art that exists in New moving to Los Angeles, I met a business Baba Jakheh, Lutanda Mwamba, the Zata
York is dedicated solely to antiques and partner keen on opening a contempo- Brothers and Stary Mwaba. The work will
tribal artifacts. Yet, with the proposed rary African art gallery. Anajuwa Gallery be on display at the 8360 Melrose Avenue
Museum for African Art currently un- was borne out of our mutual interest in gallery till the end of May and then relo-
der construction on Museum Mile on the the field, and is dedicated to showcasing cated to the Fairmount Miramar Hotel in
Upper East Side, contemporary African emerging and established contemporary Santa Monica.

Gallery News 15

J U LY 15 -18, 2010


OPENING NIGHT GALA / T H U R S D A Y, J U LY 15, 5 - 8 P. M .
JULY 16, 11- 7 PM; JULY 17, 11-6 PM; JULY 18, 11- 6 PM / TEL 505.988.8883 / WWW.ARTSANTAFE.COM


PICTURED LEFT TO RIGHT, TOP ROW: Jorge Fernandez, JoAnne Artman Gallery, Laguna Beach, California; Bruce Clarke, Bekris Gallery,
San Francisco, California; Yayoi Kusama, EDEL, Osaka, Japan SECOND ROW: Robert Turner, Robert Turner Photography,
Del Mar, California; Peter Weber, Galerie Renate Bender, Munich, Germany THIRD ROW: Friederike Oeser, Galerie Walter Bischoff,
Berlin, Germany; Michael Schultheis, David Richard Contemporary, Santa Fe, New Mexico; Jimmy Ernst, Osuna Art, Bethesda, Maryland

Superman flying naked and low to the ground in order to avoid radar
Charcoal on paper. 20x24 inches. Circa 2009.



Personal Archaeology is an intimate look into A selection of Abramovi's iconic pho- Marina Abramovi
the development of Marina Abramovi as one tographs is installed in the main gallery, Sean Kelly Manhattan
of the most important artists of our time, providing a visual time line of the evolu- [through June 19]
beginning with her historic performance tion of this pioneering performance artist.
work of the 1970's through to her most re- Works such as Rhythm O, Lips of Thomas,
cent work from 2010. The title collection Carrying the Skeleton, and Cleaning the
of the sculpture has not been shown before House chart the trajectory of her career
in the US. This highly personal work from over more than 40 years. The main gallery
1997-99 consists of a large wooden cabinet also includes one of her newest videos,
containing numerous drawers, in which ar- which is a startling image of Abramovi,
tifacts from Abramovi's life are displayed. her face covered in gold leaf, staring out
The public is encouraged to look through at the viewer. The faint ruffling of the gold
the drawers to view the variety of revealing leaf is the only motion in the video, so
objects and mementos that Abramovi has draws the viewer in close for further in-
collected, including photographs and hand- spection; they ultimately find themselves
written notes, that has influenced her work. meeting Abramovi's direct gaze. Marina Abromovi, Portrait with Golden Mask,
2010, color video projection on DVD, 30 loop.

The trio of artists included in this group ex- antique vessels and statuary, arranged in All This And Not Ordinary
hibition utilize a wide range of materials in lyrical patterns. Fabienne Lasserre com- Jeff Bailey Manhattan
unlikely combinations. Painting detritus is bines linen, paint, steel, paper, and hand- [through June 19]
reclaimed as a medium for drawing; sculp- made felt to create forms that stretch, lean (from left:) Joseph Hart, Untitled (Vessel
Study), 2010, collaged paper, ink, acrylic, colored
ture is co-opted as a vehicle for painting; and drape. Her multifarious sculptures pencil and graphite on paper, 19x15; Fabienne
and drawing is used as a tool to mimic ges- can mimic human interaction while also Lasserre, Cradled Drawing 1, 2010,linen, wire,
acrylic polymer, acrylic on paper; Chris Duncan,
tural painting and explore abstraction. Chris implying science fiction creatures. Platform, 2010, wood putty, spray paint, acrylic
paint and mirrored paper on panel, 23.25x32.
Duncan uses mirrored paper as a surface for
painting, stitching, or collage. Human Ab-
straction (4, 5 and 7) each feature a circular
form composed of hundreds of hand painted
multi-colored dots. The surfaces partially
reflect the viewer, but are obscured by spray
paint and stitched paper. In Joseph Harts
mixed media drawings, color, line, and form
have equal presence. Gestural marks are as
pronounced as representational imagery.
All-over compositions feature fragments of
Christopher Cook
Mary Ryan Manhattan
Concrete Firmament continues Christopher tween our experience of the world and the [through June 19]
Cook's work in liquid graphite (graphite pow- means by which we form such experience.
Christopher Cook, Flicker on the Cave, 2010,
ders, oil, and resin) on aluminum panels or Additionally, the dualities present in this graphite, oil, resin on coated aluminum, 40 x 59.

coated paper. In this new sequence of images, work light and

Cook explores the formal and psychological dark, hard and soft,
qualities of road tunnels throughout Italy. In interior and exte-
doing so he is also able to reconsider an ear- rior create a dy-
lier fascination with worlds within worlds, namic that not only
and encapsulated space. These 'graphites' conveys the magical
contain both photographic (or cinematic) sense of encapsu-
and painterly elements, often in the same lated space, a realm
image. Cook's method lends an enigmatic 'out-of-place', but
air to the everyday, allowing him to suggest also of conscious-
the proximity of apparently unrelated emo- ness moving to-
tions, such as fear and nostalgia. The same wards a fierce and
method also emphasizes the connection be- intrusive light.

Exhibitions 19

Ben Gocker Ben Gockers first solo exhibition, There is in Gockers display of book covers for
PPOW Manhattan is really no single poem, does not include imaginary books, Floating Collection, a fan-
[through July 16] any poems per se among his bright instal- tastic prelude to unrealized genius. Each of
lations, drawing series, and wall-mounted these works contains elements that cannot
sculptures. He pays significant attention to stand in solitude, that invite other elements
the idea that no work of art should or can to surround, contextualize, and interrogate
exist alone. This creative ethos is reflected them. Each is also brilliantly illuminated
in Gockers inscription of the names of nu- by others in the show; Gocker emphasizes
merous friends, acquaintances, and loved interaction, dialog, allusion, and sociability
ones in one of the shows centerpieces, the even as he mourns the ephemeral service
large painting titled simply Namesas it into which these forms are pressed.

Expanding and melding his ongoing explo- of familiar yet mostly camouflaged imagery
rations of landscape, architecture, the void such as trees, geometrical shapes, and spa-
of nothingness and light, Martn Reynas tial perspectives, the works pave a way into
Ben Gocker, Names, 2010, wood, canvas, plaster, paintings celebrate the accident as a thing the convergence of a space where landscape
acrylic, sand. 69 diameter.
that can be controlled. With the use of min- meets an abstracted tapestry, weaving to-
imal gestures his paintings provoke a poetic gether the most miniscule of components
Martn Reyna blurring of the distinction between the rec- to make up the whole and refracting all of
Hogar Collection Brooklyn
ognizable, the purely abstract, and the place the possible colors of the spectrum into
[through June 28]
where the two meet together in a dreamlike a transcendental space that is both con-
state. In both his heavily textured oils on templative and meditative. The prismatic
canvas and his intricately woven watercol- qualities are fused to formulate and exude
ors, a vivid use of color plays a vital role in a metaphysical by-product where particles
the representation of metaphorical analo- collide, explode and separate creating a
gies of existence and creation. With the use unique and spiritual view of the universe.

In this new series, Edge of Everywhere, Everywhere Is Always, hints at Walker's at-
Sarah Walker continues to develop her tempt to get at where the so-called real and
highly active and dense surfaces, this time virtual have merged and the two realms
primarily on panel rather than paper. are no longer easily distinguishable. Ken
Structures found within technology, the Weathersby's paintings are intense, elegant
sciences, nature, and architecture provide grids of primary color that subtly invert ex-
Martn Reyna, Untitled (2), 2009, watercolor on
the internal organization and logic for her pectations in a number of ways. While some
paper, 26 x 20. paintings, which work to visually organize of the carefully penciled and painted can-
information. Walker's earlier works can be vases display their colorful patterns, others,
Sarah Walker seen as attempts to visually organize the in- in whole or in part, are turned to face the
& Ken Weathersby
formation overload around us. In her recent wall. Several have cut-away sections, which
Pierogi Brooklyn
paintings, she deals further with the chaotic have been replaced by fitted inset panels
[through June 27]
and multi-dimensional reality of existing painted with grids that either mimic or
(below left:) Sarah Walker, Compound, Blue
Haze (detail), 2010, acrylic on panel, 10x11. simultaneously in the data overload of the contrast with the surrounding canvas. The
(right:) Ken Weathersby, 177 (gothic marxism),
2010, acrylic and graphite on linen, 20x33. real and the virtual worlds. One painting, exhibition also contains a number of two-
sided paintings, which may be flipped and
re-hung during the course of the show to
expose a hidden view. Another painting is
set flush within a carved-out hole and is
situated within, rather than hung on, the
surface of the gallery wall. This exhibition
as a whole and the individual works within
it are oriented to create a visual play of op-
tical experiences, but also a particular kind
of mental or conceptual engagement.

20 A|C|A June 2010


Kathryn Cornelius
Curator's Office Washington DC
[through June 26]

In this exhibition, The Feeling of What Hap- interpersonal relationships are explored
pens, Kathryn Cornelius presents three new through simplistic actions and the ex-
video series that investigate how frames of tremes of their expression. In the second
interaction can be constructed to elicit emo- series Or, Death Speaks for Us, Cornelius
tive responses in the viewer. She also explores creates images without images, text and
how our individual experience and underly- context without explicit visual grounding.
ing biological systems come to bear on how These videos are small, intimate looks into Kathryn Cornelius: (left and top) How We Learn
to Love, Vol. 1, 2008, single-channel video (HD
we make meaning out of action. Cornelius the personal lives of individuals that serve DVD), 2:52 (looped); (middle) Or, Death Speaks
for Us (Heather), 2010, single-channel video
explores the flexibility of the term 'perfor- as mini-portraits, imagined narratives of (HD DVD), 3:07. (directly above) Home Again,
Home Again (In my case, self-absorption is
mance' through such diverse performative what these individuals may experience completely justified... - Laura), 2010, single-
channel video (HD DVD), 5:20. All: edition 1 of 10
subjects as physical people and their actions, and see in their final moments. The third + 2 APs. Courtesy of Curators Office and Artist.

video editing as choreography, narrative and series, Home Again, Home Again, pres-
dialog construction, and visual versus audi- ents two alternatives to the film "trailer"
tory context. Each series is an experiment form the comedy version and the trag- Martina Nehrling
towards engaging the audience interactively edy version. In its entirety, the exhibition ZG Chicago
in the work so that the feeling of what hap- presents a maelstrom of tragicomic emo- [through July 10]
pens is ultimately expressed by the viewer. tions with the goal of engaging the viewer Martina Nehrling: (right below) untitled (detail),
The first series includes How We Learn to as the ultimate producer of each of the acrylic on canvas, 36 x 60; (bottom) Garden
Drunk (detail), acrylic on canvas, 48 x 144.
Love, two videos in which the dynamics of presented works.

Martina Nehrlings visual vocabulary is based compositions of accumulation. Grouped

on the immediacy of the brushstroke and or tangled together, I use multiple distinct
the flexibility of color. Her latest exhibition, brushstrokes for their graphic directness
What the Walls Heard, reflect these qualities. and use particular color relationships to
She paints from a near compulsion to re- interrupt or punctuate the tracking of
spond to more than the merely visual world patterns of value and intensity.
and as a means of engaging in a dialog
communicating through the primacy of the
mark compounded by the myriad associa-
tions inherent in color. Her paintings proj-
ect visual rhythms inspired by the sounds of
daily life, giving off a perspective that is airy
while also being substantial. Nerling says,
Compelled by the pulsation of the beauti-
ful and horrific relentlessly clashing, I create

Exhibitions 21

Rob Matthews In his new work, Rob Matthews delves into Matthews has removed a bridge to present
Gallery Joe Philadelphia mans interaction with his natural sur- what appears to be a pristine scene. These
[through June 26] roundings. Landscape is clearly the domi- compositions reveal little trace of a human
nant force here, while man is a fleeting bit presence, yet are unsettling within the con-
player. These intimate drawings, most 10 x text of the other landscapes. Fresh death
8 inches, of intense graphite work are full is present in a large drawing of Fairmount
of symbolism and iconographic imagery Park showing dozens of recently killed bats
(a snake, a mound of salt, or a carefully nailed to a tree, evidence of a bat hunt the
placed skull reflecting). As in Matthews night before. Scattered beer cans in a com-
past shows, his passion for the work of panion drawing hint at activities leading up
Albrecht Durer, Hugo van der Goes, and to the hunt. For Matthews, We attempt to
Giotto shows through. The Devils Pool organize and contain nature to experience
No. 1 & 2, two densely worked landscapes it on our terms but in the end we lose con-
show sections of the Wissahickon Creek. trol and succumb to our own end.

Paul F. Keene, Jr., was a master painter who his life experiences and sophisticated in-
exemplifies the success, tenacity, dedica- ternational education. Keene absorbed the
Rob Matthews, The Devils Pool #1 (detail),
2009, graphite on paper, 10x12.5. tion, and humanity of his generation. His colors, diversity, and rhythms of urban life
artistic success and achievements in Phila- while growing up in North Philadelphia. In
Paul Keene delphia and beyond, opened doors for Af- this retrospective, Remembering a Modern
Sande Webster Philadelphia rican American artists by demonstrating Master, Keenes paintings can be viewed
[through June 26] what was possible. Keenes major solo and documents of a very personal confronta-
group exhibition record extends across tion with the canvas. Images of jazz, ur-
four continents, including shared exhibi- ban walls, geometric forms and bold color
tion space with Picasso and Leger in Paris. combinations define much of his work. As a
Keene lived and worked as an artist in Phil- master of paint, drawing, composition, and
adelphia for seven decades. His passionate color, Keene had all the necessary tools to
and soulful paintings were inspired from communicate and express his inner world.

Paul Keene, Winter Urban Landscape, 28x40.

Carlin Wing's Ceilings Where I Sleep, 2005- a prosaic catalogue of intimacy whose af-
2010 is a collection of 130 chronologically fective kernel remains tantalizingly hidden.
organized photos of interior and exterior Wing also addresses the history of photog-
Carlin Wing spaces in which the artist has spent at least raphy and conceptual art. Her mapping of
Anthony Greaney Boston
one night during the last five years. Shot in domestic topography resonates with the
[through July 20]
various formats, including analog, digital, modernist archival impulse of Eugne At-
Carlin Wing, INDES Sport Hotel, San Salvador, and cell phone cameras, this ongoing ar- get, among others, and its subsequent itera-
October 24-30, 2005, inkjet fiber print, 4x5.33.
chive documents tions in the typologically organized, seri-
the architec- ally structured photographs of artists like
tural details that Bernd and Hilla Becher and Ed Ruscha.
frame the art- Unlike these precedents, Wing shifts her at-
ist's drifting into tention from public spaces and monuments
and awakening toward architectural interiors and libidinal
from sleep. With worlds and from a vertically positioned op-
her gaze fixed tical apparatus to a horizontally sited bodily
upward on a matrix. Though she may use photography's
changing canopy evidentiary language, Wing dissolves the
of textured walls, objective lens through which 20th century
cheap veneers, documentary and conceptual practices
patterned cur- have tried to capture and classify experi-
tains, and banal ence and replaces it with an unpredictable
lighting fixtures, phantasmic organ. - Nuit Banai
Wing constructs

22 A|C|A June 2010


Linda Flemings solo exhibition, Lingering, fertile ground in-between. As a vast ongo- Linda Fleming
is comprised of medium and large-scale ing study over the years in form and scale, Robischon Denver
sculpture works of, primarily, painted and Linda Flemings own studio maquettes [through June 19]
chromed steel. With complex geometric continue to inform and evolve as pivotal
forms that give equal consideration to the source material for the artist. Investigat-
potentialities of both the ephemeral and the ing the forms in nature and humankinds
fluidly architectonic, each sculpture reflects place within, her intricate maquettes sug-
an introspective investigation of the natural gest encompassing universes beyond hu-
world and Flemings distinctive expansion man perception. Considered contextually,
upon it. Her intersection of circuitous flow- these differing approaches to scale allow
ing elements with hard-edged materiality in- a view into the artists larger thought pro-
vokes the many substantive dualities inher- cess exploring a consciousness that exists
ent in her work masculine/feminine and simultaneously in both the concrete and
organic/hard-edged all residing in the the abstract.

Weep and Wonder, the latest work from dilemmas, simultaneously ancient and
Jennifer Nehrbass, continues the artist's focus contemporary. Ambiguity, realism, and Linda Fleming, Cumulus 1/3, 2010, chromed
on women and her attempt to turn of the pose fantasy play atmospherically in a narrative steel, 72x46.

of the helpless female inside out. The highly moment akin to magic realism. Drawn
technically skilled paintings in oil on canvas from a Victorian obsession with sex and Jennifer Nehrbass
often convey an eerie clarity and might just death, these portraits speak to forbid- Klaudia Marr Santa Fe
as easily be photographs staged for a psy- den thoughts and desires, suggesting that [through July 11]
chological encounter and a restrained yet what is hidden from, and forbidden to the
ambiguous eroticism can be found in many maidens, is ultimately denied to the view-
of Nehrbass paintings. Weep and Wonder er. What the portraits yield is an intimacy
was inspired by Margaret Atwood's book, of time and place that meanders through
The Penelopiad. This ongoing series of paint- rich details and nuanced perplexity. For
ings imagines each of the twelve maidens as the artist, bafflement is as necessary to ex-
oval cameo portraits expressive of modern perience as delicate reasoning.

Colliding polarized trends within contempo- their astounding formal innovations and
Jennifer Nehrbass, Lights Out, 2010, oil on can-
rary art, Joe Ramiro Garcia merges Pop Art's considerable conceptual richness, Yama- vas, 22x28.
distanced reproductions of cultural icons no's sculptures are praised as instances of
with an expressionistic, painterly aesthetic. the most technically accomplished glass
Joe Ramiro Garcia
Colorful images of whimsical figures and art produced today. In a unique method
& Hiroshi Yamano
everyday objects in his playfully provocative the artist adapted from Japan's history of LewAllen Santa Fe
paintings animate a space that seems at once metal crafts, complex forms [through June 27]
recognizable and eerily mysterious - a tab- of blown, sculpted, cut,
leau of discordant players depicting an enig- and polished glass are
matic narrative. By referencing both popular fused with delicate
culture and private experiences, his psycho- layers of silver
logically resonant oil-and-alkyd paintings leaf while still
navigate between the delight of instant rec- hot and preced-
ognition and the riddle of a dream or elusive ing copper plat-
memory. Referencing the ocean as both a ing, allowing
bridge and a barrier between Japan and the him to emulate
West, Hiroshi Yamano's art offers the sea as the intricate
an evocative symbol of the conflicts between decorative sur-
tradition and change, isolation and openness faces of Japanese
- an elemental space that both encloses and screen paintings.
(above) Joe Ramiro Garcia, Daytime TV, 2010,
embraces the complex dialogues of personal oil & alkyd on birch, 18x16. (left) Hiroshi Yama-
no, Nagare #106, 2009, blown sculpted glass,
and national identity. Celebrated equally for silver engraving and copper plating, 31x6.5x3.

Exhibitions 23
In Review

339 South 21st Street Philadelphia PA 19103 (NE Corner of 21st & Pine Streets)
1+ 215.731.1530 | www.Gallery339.com | info@Gallery339.com
Tuesday - Saturday: 10am - 6pm | Sunday & Monday by appointment.

Maria OMalley36 Linda Vallejo40 Arshile Gorky46

Angela Ellefson 54 Christy Rogers 53 Patrick Graham 46
California Exhibitions 44-49

June 2010 | On the Cover: Mark Harrington, Depth of Field 4, 2010, acrylic on linen, 48 x 38.25. (see page 46)

Fang Ling-An
Everything Is Stitching
Together Simultaneously

May 29 - June 27, 2010

207 W. 5th Street

Los Angeles, CA 90013

CB1 Gallery Hours:

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


May 22 - July 3, 2010

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

Including collaborations
with Puma Yoshie Seki
1431 Ocean Ave. , Santa Monica, CA 90401 June 19th-July 1, 2010
+1 310 451 9983 Reception: Saturday June 19th, 6-9pm
info@bgartdealings.com Artist Talk: Sunday June 27th, 4pm

bgartdealings.com hamiltongalleries.com
Ben WHite
History and Vanity: tHe distillation of rumor

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

acrylic and spray paint on panel | 36 x 48 inches

may 26-June 26, 2010

5797 Washington Boulevard | Culver City, California 90232
323.272.3642 | www.blytheprojects.net

Maria OMalley

An Encaustic Journey by Roberta Carasso

tics do not deteriorate, yellow, or darken;

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

Requiring a heat of 180 to 200 degrees,

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

36 A|C|A June 2010


Maria OMalley

may appear deceptively flat or texturally

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

This arduous process requires continu-

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

Artists 37

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

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

40 A|C|A June 2010


Linda Vallejo

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

Artists 41
Nadine Rovner, One at a Time Archival Digital Pigment Print , 2009

hous projects
march 25 - august 17 2010

Featured Artists: Narelle Autio Jen Davis

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

Phillip Toledano Nicola Vinci

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

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

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

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

44 A|C|A June 2010


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

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

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

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

Exhibitions 45

Patrick Graham & Arshile Gorky

Jack Rutberg Los Angeles
[through July 31]

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

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

46 A|C|A June 2010


Mostly known for her performance- Jamie Isenstein

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

Step in Time, a new exhibition by Bay Area her work, accents the shadows of the lines Judith Foosaner
artist Judith Foosaner, features black and and shapes that encompass the entire can- & Carlo Marcucci
white abstract paintings and collages. Foo- vas. With her signature style, her new work Lora Schlesinger Santa Monica
saner's work commences with a delicate line continues to exude energy and fervor. The [through July 9]
that evolves into bold complex forms and East gallery will feature Wheatfields, wall-
compositions. In her painting, Kiss, organic mounted sculptures by Los Angeles based
forms resembling leaves float gently within artist Carlo Marcucci. The artist creates
fields of rich black paint. Similar shapes are smooth, minimal sculptures by mounting
found and transformed into puzzle-like col- dry pasta side by side in rows creating an
lages in Pursuit. The fluidity and rhythm illusion of wood or mosaics. Some of the
of each shape is disrupted, cut and then sculptures are designed in multiple sections
mounted on canvas, resulting in even more and others include intersecting structures
elaborate compositions. The interplay be- made of transparent Plexiglas, changing the Carlo Marcucci, Wheatfields LXII (62), 2007,
udon noodles, squid ink spaghetti, regular spa-
tween light and dark, consistent throughout nature of the pasta itself. ghetti, salmon spaghetti on plexiglas, 14.5x9x 4.

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

Exhibitions 47

Lael Corbin In this new show, Greetings from Earth, Lael tory, science, space, and time, as well as
Luis De Jesus Santa Monica Corbin compels us again to redefine our play, curiosity, and wonder. Corbin has fre-
[through June 26] understanding and relationship to material quently dealt with language through the use
reality. Taking of fable, allegory, narrative, and poetry, ex-
his cues from the ploring how fictitious or inanimate objects
space programs can convey precept or truth, and calling into
of the late 1970s, question the very materials and methodolo-
like NASAs Voy- gies that form, what he calls, the multitude
ager spacecraft of other conceptual frameworks that shape
and its Golden our perception today. This has led him to
Record, Corbin experiment with a broad range of methods
examines ideas and unconventional materials, employing
and ways in a strategy in which research, building, and
which we might manufacturing processes mix seamlessly
communicate together with dream-like imagery, frag-
with extrater- ments of information, syntax, memory, and
restrial life. He competing timelines. Stripped of a normal
offers an instal- context, objects and processes that, at first
Lael Corbin, Brn-77, 2010, wood, glass,
lation of specific glance may appear familiar, in the end force
shoes, audio and video recordings, 48x12x18. images and objects that draw upon both us to question how these forms fit into our
narrative and poetic relationships to lan- larger consciousness.
Teo Gonzlez guage, while evoking such notions as his-
Brian Gross San Francisco
[through July 3]
These new minimalist paintings by the New ghost-like traces that call to mind various
York artist Teo Gonzlez were achieved by natural forms, such as cells, stars, eyes, eggs,
the artist methodically painting thousands and molecules. In his new works, Gonzalez
of tiny dots in loosely gridded arrange- mimics the residual forms by painting the
ments. Subtle variations in the size, den- shapes directly instead of using droplets
sity, and placement of the forms result in eliminating the element of chance inherent
shifting, dynamic compositions that engage in the dropping method and giving the art-
and captivate the viewer. The paintings on ist greater control of the creative process.
view present a new direction in Gonzlezs The result is vacillating abstract fields that
working method. Previously, the artist ap- are at once meticulously precise and rhyth-
plied paint to the canvas in tiny droplets us- mically organic, possessing a vital energy
ing an emulsion that forces the pigment to that gives them a life of their own.
Teo Gonzalez, Untitled 593, 2010, acrylic on
the outer edge as it dries. Left behind were
canvas over board, 78 x 78.

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

48 A|C|A June 2010


Frederick Hayes' latest exhibition, Cityscape: social and eco- Frederick Hayes & Ernest Jolly
Patricia Sweetow San Francisco
Drawings, Installation, and Painting, con- logical issues.
His installa- [through June 26]
tinues his exploration of African American
portraiture and urban landscape using char- tions bring to-
coal and paint. Hayes's exhibition takes the gether sculp-
viewer on a walk through his city albeit ture, sound,
a fictionalized city filled with faces both and light, us-
known and unknown, billowing cloud for- ing common
mations over geometric urban cityscapes, building mate-
and detailed brick facades of massive archi- rials like con-
tecture. His subjects are never accidental, crete, wood,
but rather thoughtful and provocative, pro- and wire. In
viding a rich portrait of urban life. "I have Just Off Shore, (left) Frederick Hayes, Cedrick, 2009, acrylic on
canvas, 14 x 11. (right) Ernest Jolly, Alchemist
an undeniable interest in portraiture, the Ernest Jolly collaborates with M. Chris I (detail), 2010, mixed media, 46x117x46.

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

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

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

Exhibitions 49

N 0028
72 x 48 x 13

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

Christy Rogers
Space intrigues me, says Christy Rog- or the bold coloration of Michelangelo. back to the Islands, the first thing I do is
ers, My work is essentially a study in Here the obsessed leitmotif of Courbet dive into the ocean. It rejuvenates me."
the intricate nature of space and time. meets the glory of Delacroixs action. As viewers, we share that eureka mo-
For an artist, this makes for boundless Singular light worthy of Rembrandt illu- ment of hers the ecstasy of that first dive
exploration. Her fluency in the language mines each lone figure. back into the ocean. Toward that end, it is
of three dimensions is hardly a fluke. The the naked shot itself that is of paramount
Los Angeles-based photographer began Born and raised on the Hawaiian island design. What she sees is what you get
her career as a filmmaker. the images have not been
Over the course of vari- digitally manipulated at
ous avant-garde projects, all. The catching of genu-
the self-taught artist in- ine ephemera gives these
tensely pursued her ex- images their cachet. I am
ploration of the visual. In obsessed, she says with
photography, she found the beauty of imperfec-
her most facile means of tion and the drama of hu-
expression. man passion. Her photos
say nothing less.
Her new collection,
Siren, praises the human Raised in a family of mu-
form in water, a motif as sicians and artists, Chris-
magic as mermaids and ty Rogers is also a poet,
as primal as the womb. filmmaker, and musician.
Wrought from a mini- Her newest project, Od-
malist palette, her figures yssey, which she has been
within a watery darkness, working on since the be-
at life-size, are deeply af- ginning of the year, will
fecting. Nude and half- showcase these disparate
clad, the images of the interests. A massive un-
figures dazzlingly mix the dertaking comprised of
traditional and contem- over a hundred life-sized
porary. images in concert with
experimental video, the
Deploying the dance work-in-progress will al-
of human form with low the viewer to experi-
textiles of cool warmth, ence that which had pre-
Rogers creates images viously only been allowed
that are hypnotic in the Odysseus, the opportu-
peace they induce. The Christy Rogers, Argentina, 35x46. nity to marvel at the song
works are printed on cot- of the Siren.
ton archival matte, which
further diffuses details
already made smooth by the underwa- of Oahu, Christy Rogers frequented its Siren is currently represented at Laura
ter shot. With gorgeous figures against superlative beaches growing up, regularly Rathe Fine Art in Houston, Texas; South
a background of black, the photographs swimming in their turquoise and clear Street Gallery in Honolulu, Hawaii; and
connote the best of oil painting. Those waters. In L.A., I take a lot of baths, she Blackman Cruz in Hollywood, California.
versed in the western tradition cannot quips when asked how shes made the For information, visit christyrogers.com.
help but see the iconic hands of Da Vinci transition to urban life. When I come

Artists 53

Angela Lynthia Ellefson


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

54 A|C|A June 2010


Jaime Scholnick


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

This latest series is a return to sculp- "Art" while the initial object it held has or I am always most satisfied with work
ture while exploring my obsession with eventually will become the refuse. that is open-ended allowing the viewer
line and love of drawing. The Styrofoam to make their own comparisons and nar-
pieces in their original shapes (no cut- This desire to push my work to new rative meanings. If contemporary art re-
ting involved) dictate the design. It taps levels energizes me. I think it was De flects current dialogues then the very use
into a subconscious, spontaneous way of Kooning who emphasized that it is para- of this material as the inception for the
working that is devoid of the prior, self- mount for an artist to reinvent herself creative work encompasses a full spec-
conscious need to tackle big issues didac- over and over again to keep it fresh. The trum of ideas and beliefs that I hold.
tically. I feel that not being so obvious in present work feels familiar but isn't. Cer-
meaning (as in my past series) makes this tainly there are the obvious references to
work stronger. This material was once Dubuffet or any number of artists that
debris, cushioning the far superior item have used Styrofoam. At the same time Jaime Scholnick is represented by CB1
that was desired. Here, the roles have the work is unlike anything that has pre- Gallery in Los Angeles. For more infor-
been reversed, elevating this material to ceded it. Some pieces are architectural mation, visit cb1gallery.com.

56 A|C|A June 2010



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


Santa Monica Civic Auditorium
January 20 - 23, 2011


original artwork, Norman Kulkin

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

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

PartofTheHappeningGallery Jun2-Jun30
Featuring ReceptionSatJun12
4047 Lincoln Blvd Marina del Rey CA 90292 310 305 ARTS (2787)
info@TheHappeningGallery.com www.TheHappeningGallery.com T H E
Tues-Sat noon-7 Sun noon-5 closed Mondays HAPPENING
Chop Sticks
7 feet in height

Pieces of Sushi
6 feet in height

Whimsical Dances
Stainless Steel
10 feet in height

7001 West 35th Ave Wheat Ridge, CO 80033

Playing Ball
16 feet in height 303 431 4758 3d@kevinrobb.com kevinrobb.com