AMERICAN CONTEMPORARY ARTJANUARY 201145 North Venice BoulevardVenice, California 90291Tel 310 822 4955www.lalouver.comSol leWittStructureS. WorkS on PaPer. Wall DraWingS.19712005.PHotograPHY RichaRddeacon FRedeRickhammeRsley sollewitt seanscullyJuanusl 20 January 26 February.alSo SHoWing:Michael Salvatore TierneyAEROSPACEJanuary 8 - February 26, 20115797 Washington Boulevard | Culver City, California 90232323.272.3642 | www.blytheprojects.netMichael Salvatore Tierney, Durand Durand, 2010, archival pigment printCMYCMMYCYCMYKAmerican Contemporary Art Magazine_Full Page_Blythe Projects.pdf 1 1/19/2011 3:14:04 PMMichael Salvatore TierneyAEROSPACEJanuary 8 - February 26, 20115797 Washington Boulevard | Culver City, California 90232323.272.3642 | www.blytheprojects.netMichael Salvatore Tierney, Durand Durand, 2010, archival pigment printCMYCMMYCYCMYKAmerican Contemporary Art Magazine_Full Page_Blythe Projects.pdf 1 1/19/2011 3:14:04 PMMichael Salvatore TierneyAEROSPACEJanuary 8 - February 26, 20115797 Washington Boulevard | Culver City, California 90232323.272.3642 | www.blytheprojects.netMichael Salvatore Tierney, Durand Durand, 2010, archival pigment printCMYCMMYCYCMYKAmerican Contemporary Art Magazine_Full Page_Blythe Projects.pdf 1 1/19/2011 3:14:04 PM45 North Venice BoulevardVenice, California 90291Tel 310 822 4955www.lalouver.comSol leWittStructureS. WorkS on PaPer. Wall DraWingS.19712005.PHotograPHY RichaRddeacon FRedeRickhammeRsley sollewitt seanscullyJuanusl 20 January 26 February.alSo SHoWing:Michael Salvatore TierneyAEROSPACEJanuary 8 - February 26, 20115797 Washington Boulevard | Culver City, California 90232323.272.3642 | www.blytheprojects.netMichael Salvatore Tierney, Durand Durand, 2010, archival pigment printCMYCMMYCYCMYKAmerican Contemporary Art Magazine_Full Page_Blythe Projects.pdf 1 1/19/2011 3:14:04 PMMichael Salvatore TierneyAEROSPACEJanuary 8 - February 26, 20115797 Washington Boulevard | Culver City, California 90232323.272.3642 | www.blytheprojects.netMichael Salvatore Tierney, Durand Durand, 2010, archival pigment printCMYCMMYCYCMYKAmerican Contemporary Art Magazine_Full Page_Blythe Projects.pdf 1 1/19/2011 3:14:04 PM

JANUARY 2011CONTENTSAdvertising Inquiresadvertising@acamagazine.com561.542.6028 / Richard Kalisheracamagazine.com 2010 R.K. Graphics. All Rights Reserved.Content courtesy of represented institutions.Richard Kalisher PUBLISHERDonovan Stanley EDITOREric Kalisher DESIGNEXHIBITIONS30 Los Angeles 35 San Francisco36 New York39 Philadelphia39 Boston40 Washington41 Santa Fe41 Tucson41 ScottsdaleFEATURESKorean Art in Los Angeles 22Herbert Bayer: Bauhaus & Beyond 24COVER Abland - Ulf Puder 36 2010 - oil on canvas - 83 x 59 Cui Xiuwen - Existential Emptiness No.20 - 2009 - c-print - 37.4 x 181.1Alexander KrollUnfoldingsJanuary 13 - February 20, 2011207 W. 5th StreetLos Angeles, CA 90013www.cb1gallery.com213-806-7889gallery@cb1gallery.comGalleryHours:Wednesday-Sunday,noon-6p.m.Thursday&Fridayopenuntil7:30p.m.EDWARD CELLAART+ARCHITECTUREEskE kaththErE arE housEs EvErywhErEJanuary 8 FEbruary 12, 2011opEning rEcEptionJanuary 8, 2011 7-10pm975 chung king roadLos angELEs, ca 90012www.cjamesgallery.como (213) 687-0844info@cjamesgallery.com F (213) 687-8815)./4':5=4259'4-+2+9).'82/+0'3+9-'22+8?January 22 February 19, 2011Opening receptiOn January 22, 2011 | 7pm 10pmCurated by Jae yang |art-merge.cOm|bringing promising emerging artists to america 6023 Washington BoulevardCulver City, CA 90232 310.558.0200 www.lebasseprojects.comAhn-Nyung | HelloIntroduCtIon to Korean Contemporary artWalker, 2010, Oil on linen, 70 x 60DAVID KAPPNew PaintingsBergamot Station Arts CenterUnit G2 Santa Monica, CA310 829 3300 www.ruthbachofnergallery.comRUTH BACHOFNERGALLERYJanuary 15 March 12, 20112903 Santa Monica Blvd.Santa Monica, CA 90404310-828-1912www.gallerykmLA.com Gallery Hours:Tue Sat, 11am5pm or by appointmentWhitney Hubbs, Untitled, 8 x 10",Silver Gelatin Print, 1993 Laura Kim, detail from Artifact Drawing #1,6.8 x 10.2",C-print, 2010EmbarrassmEnt 2: thEorythrough February 10, 2011michael DoppLiz GlynnPeter holzhauerWhitney hubbs Laura KimJuliana romanoFrank ryanLily simonsonCaleb WaldorfJessica Williams GalleryKM_ACA_FP_Final.indd 1 1/25/11 9:02 PM22 A|C|A January 2011isanexhibitionof15multimedia works by four Korean artists exploring the conceptual and visual currents igniting the Korean contemporary art scene today. Curator Jae Yang is the founder of Art-merge, a Los Angeles-based consultancy that supports emerging artists. Drawingonsevenyearsofintroducingcutting-edgecon-temporaryworktotheAmericanartmarket,Yangmines the vanguard of South Koreas dynamic gallery scene to de-livertheAmericanaudienceanunprecedentedsurveyof worksthatareasefusiveintheirnaivetastheyareex-pansiveintheiraestheticachievement.Asawhole,Ahn-Nyung|Hellouncoversacultureintransition:memories aremutable,synthesisabutstradition,andexperienceis subjecttoaregimenofcreativere-envisioning.Featured artists include Hyung Kwan Kim, Seok Kim, Yeonju Sung, and Jin Young Yu. A companion exhibition, Paperwork, will take place in the gallerys project room, featuring works on paperbyartistsKimEull,TaeHeonKim,KakyoungLee, andYongSin.InAhn-Nyung|Hello,theartistsutilizea range of media to explore a rapidly changing society, work-ingwitheithersyntheticmaterials(HyungKwanKims plastictapereliefsandJinYoungYusPVCsculptures),or organic matter reinterpreted anachronistically (Seok Kims wooden robot sculptures) and unexpectedly (Yeonju Sungs photographsofhautecouturedesignsconstructedfroma varietyofcommonfoodstufs).IncontrastisPaperwork, thecompanionexhibitioninthegallerysprojectroom. Where Ahn-Nyung | Hello embraces postmodernitys frag-mented,disparateluster,Paperworkevokestraditionand continuity in its presentation of contemporary work made from Asian arts most fundamental mediaink and paper. Taken together, Ahn-Nyung | Hello and Paperwork operate in dialogue with one another to ofer an engaging and chal-lenging overview of Korean contemporary art. JinYoungYusworkdepictstheoutsiderlongingtobein-visiblethefyonthewallortheobserverseekingtogo unseen.Artisthandiworkmeetsthecommercialperfec-tiononewouldusuallyexpectfromthelikesofKoonsor Murakami, as Yu constructs her fgures from a ultra-trans-parent PVC and hand cast and painted plaster. Te result-ingsculpturesexplorethedynamicsofsocialanxietyand expectationthroughasemi-apparentcastofsubjectswho aresomber,withdrawnandexquisitelyunapproachable. Korean Art Showcase in Los AngelesFeatured ExhibitionAhn-Nyung | Hello Feature 23 Terobotachildhoodplaything,objectofdesireand memory, and once a cornerstone of Asian pop-cultural ver-nacular assumes a transcendent role in Seok Kims sculp-tural work. In his monochromatic plastic pieces, the artists subjectsappearnearlyuntouchable,deepinepicposesof thought and prayer. Meanwhile his colorful wooden robots take on distinctly human frailties, as they sit alone at a desk orposealongsidetheirbicycleduringacommutehome. Inherphotographsofclothingconstructedfrommaterial that could never be worn, YeonJu Sung captures a series of phantomstemporalcheckpointsdepictingobjectsdes-tined to decay, objects that fail in function what they seem tofulfllinappearance.Byultimatelyrenderingwhatbe-gins as sculptural work in the photographic medium, Sung exposesanauthorityofimageoverreality,revealingthe tenuous line that separates lived from imagined experience. In Hyung Kwan Kims work, wistful scenes of discovery are born out against dense, hyper felds of urban activity. Hu-man fgures appear obscured, dismembered or caricatured in each colorful relief, as Kim explores the concept of cities andsocietiesasgrandartifcialexhibitionhalls.Tisisa process-rich endeavor in which the artist derives a nuanced palette from the subtle color deviations and inconsistencies in plastic electrical and packing tape.Ahn-Nyung | HelloLeBasse Projects Culver City[through February 19](left page) Hyung Kwan Kim, More Than This #3, plastic electrical tape, 70x46. (above)workbySeokKim(below)YeonjuSung,Banana,pigmentprint,35"x54".Jin Young Yu, Family in Disguise, mixed media, 14"x51"x18".24 A|C|A January 2011Bauhaus and our very sense of what is modern in twentieth century art and design are practically synonymous.We are surrounded in our everyday lives by the designs and theories put into practice by the Bauhaus.While the school of the Bauhaus existed only from 1919 to 1933, its principals and infuenceresonatetodaybecauseoftheachieve-ments of the artists and architects associated with it:WalterGropius,PaulKlee,VassilyKandinsky, JosephAlpers,LyonelFeininger,LaszloMoholy-Nagy, Warner Drewes and Herbert Bayer.By defnition Bauhaus means construction or architecture (bau) and house (haus) in German.It wasthecreationofWalterGropius,whoin1919 assumed control of the Weimar School of the Arts and Crafs and the Weimar Academy of Fine Art. HecombinedthetwointotheWeimarBauhaus School.It was Gropius intention to create a new generation of crafsmen without the class distinc-tions between crafsmen and artists.No doubt it Noinstitutionhasafectedthecourseof twentiethcenturyartanddesignsopro-foundlyastheBauhaus.Itsimpactisstag-gering.Bauhaus precedents provide sources foreverythingfromtheappearanceofour urban skylines to the modern dinnerware on our hard-edged, contemporary tables.They arefoundinvirtuallyeveryfunctionallyde-signed object and graphic today.Herbert Bayer: Bauhaus and Beyondby Hugo Anderson- Gwen ChanzitCurator, Herbert Bayer Archive at the Denver Art Museum Feature 25 wasanattempttobuildsomethingnewandpositiveout oftheashesofWorldWarIwhenGropiusstatedLetus desire, conceive, and create the new building of the future together.Tecentralconceptwasthatnooneartformwasin-herentlybetterthananyotherandthatthefneartsand appliedartsmustbestudiedandusedtogether.Trough good design the new artist/crafsman would create a better world.Te very fact that easel painting was replaced in the curriculumbymuralpaintingshowedGropiuscommit-ment to integrate all the arts within architecture.Of all of the artists associated with the Bauhaus during its brief 15 years, it is Herbert Bayer (1900-1985) who actu-allydevotedalifetimetoacareerwhichincorporatedthe ideal of total integration of the arts, in design, advertising, architecture, public sculpture and painting.HerbertBayerwasbornApril5,1900inHaagam Hausruch,Austria.BecauseofabookhereadbyVassily Kandinsky(ConcerningtheSpiritualinArt)heenrolled atWeimarBauhausattheageof21.Heactuallyarrived at the Bauhaus six months before Kandinsky began teach-ing.BayerstudiedattheBauhausfortwoyears,takinga leave in 1923 to travel through Italy.He had arrived at the Bauhaus with almost no prior background in art, and thus oferedtheperfectblankslateuponwhichtocreatethe essential Bauhaus artist.Since the Bauhaus ofered no art history in its curriculum it made sense to expand his frst-hand knowledge of art architecture and design by spending a year traveling in Italy, sketching and painting.To support himself he painted housesand stage sets during his travels, thus applying the integration of crafsman and artist at the frst opportunity. In 1925 he was ofered a position on the faculty at the Bauhaus, as Master of Typography.It was then, in conjunc-tion with the ideas of Moholy-Nagy, that Bayer developed a universal alphabet using only lower case letters.Tis was designed to be a practical typeface, which was large enough to read and free of distortions and curlicues, sans-serif type. Bayer applied this type design to ad copy, posters and books throughout his career.In1928BayerleftheBauhaustopursueadesignca-reerinBerlin.Itwashisdesiretoputthetheoriesofthe Bauhausintopracticeindesignandadvertising.In1933 he produced a bayer type. During his Berlin years, in ad-dition to his design work, Bayer ventured into photography, whichheusedinbothcommercial(adsandposters)and fne art production.With Maholy-Nagy, Hebert Bayer was an early creator of photoplastic or photomontage.Te al-tering of photographic imagery through the use of multiple negatives and collage meshed well with Surrealist imagery, asinself-portrait(1932),lonelymetropolitan(1932),and metamorphosis (1936).Te later 1930s were difcult times for free expression. Artists were among the many groups who felt the need to fnd exile outside Nazi Germany.Te Bauhaus had closed in 1933 and many of its artists/faculty had already emigrat-edtotheUnitedStates,fndingworkteachingatHarvard and at the New Bauhaus in Chicago.Bayer had traveled to theU.S.in1937andbecameinvolvedinthedesignofan exhibition on the Bauhaus at the newly created Museum of Modern Art. In 1938 he moved to New York City.Deposi-tion (1939) while depicting the tools of Christs crucifxion, also portends the dark future of a Nazi victory in Europe, a victory that seemed quite possible in 1939.Te exhibition Bauhaus 1919-1928 opened at the Mu-seum of Modern Art and later traveled around the United States.It provided an introduction to modernist design to a country slow to accept abstraction in painting, much less inadvertising,whichrequiredclientacceptance.During histenureinNewYork,Bayersgraphicworkprospered, but when the opportunity arose to move back to a moun-tain environment he took it, moving to Aspen, Colorado in 1946.He accepted a position as design consultant for Wal-terPaepckeandtheContainerCorporationofAmerica, whose headquarters were in Chicago.Te Aspen of 1946 was a small mountain town of less than800residentsandonlythebeginningsofaskitown, Herbert Bayer: Bauhaus and Beyond26 A|C|A January 2011with two pre-war ski runs.Paepcke and Bayer were instru-mental in initiating the changes that would make Aspen a cultural oasis in the 1950s and beyond.Te Aspen Institute forHumanisticStudieswasfoundedbyPaepckein1949, with Herbert Bayer working as architect and design consul-tant.He designed a complex of buildings for the institute, integratedwithinthenaturallandscapeofthemountain valley.In 1955 he created a work calledgrass mound, a for-ty foot grassy place for relaxation, years before the concept ofearthworksbecamepopular.Healsocreatedmarble garden using discards from an old marble quarry.In 1963-64 he designed a new tent for the Aspen Music Festival.Withhisreturntomountainliving,mountainsand contour map elements began to emerge in his artwork from the late 1940s on, as in his lithographmountains and lakes (1948).Hedesignedaseriesofskiposters,includingski broadmoor(1959).In1953theContainerCorporation publishedworldatlaswithgraphicsdesignedbyHerbert Bayer.Hisgoalwastoputtogetheranatlaswithclean graphics that was easy to read.Te interaction between fne art and commercial art again shows in Bayers paintings and prints with continuing use of weather related symbols, such as arrows, fow charts and contour maps. TeContainerCorporationemployedthetalentsof ManRayandFernandLegeraswellasBayerinthelate 1930s.It was their concept that through good design, cor-porationscouldinfuencegoodtasteandprofts.Bayer, with his Bauhaus ideals, was a natural to work in this col-laboration of art and industry.In their ads, text was limited toffeenwordsofcopyinordertoputtheemphasison visualimages.Lengthytextswereout;cleancopywasin. Advertising was seen as good public relations with consum-ersandbuyersatothercorporations.Bayerusedcollage and photomontage, elements from his fne art, in his early advertisements.He became chairman of Container Corpo-rations Department of Design in 1956.He was more than just an art director, contributing in management decisions, including the design of buildings and interiors.TeGreatIdeasofWesternManwasaHerbertBayer advertising campaign of the 1950s and 60s.Tese ads had no sales message, again working on the concept that a good corporateimagewasalsogoodforbusiness.Teadcon-cept was an out- growth of discussions at the Aspen Insti-tute for Humanistic Studies.TeInstituteworkedtobringbusinessexecutivesand managers together to discuss ideas in a relaxed setting and a cultural environment.Te Aspen Institute was as respon-sible for putting Aspen on the world map as was skiing.It was also a great concept for expanding the year past ski sea-son, with many of its programs in the summer months.It was through connections at the Aspen Institute that BayermetRobertOAnderson,founderofAtlanticRich-feld Oil Company.In the early 1950s they became friends; AndersonboughtBayershouseintownwhenHerbert moved his studio onto Red Mountain, overlooking Aspen. Along with the house, Anderson also began to buy artwork byBayer,providingthebeginningofarelationshipofpa-tron and friend that would last until the end of Bayers life. Afer Walter Paepckes death in 1960, Bayer began working for ARCO as an art and design consultant, starting in 1966.BayeroversawthedesignofcorporateofcesinNew York and Philadelphia, as well as Los Angeles when the cor-porate headquarters moved there.He designed the artwork forARCOPlazainLosAngeles:doubleascension,two linked staircases in a pool of water.He also advised ARCO on the development of its large corporate art collection and theperformingartsprogramsitsponsored.Hedesigned carpets and tapestries for the corporate ofces.He designed a sculpture for the 1968 Olympics in Mex-ico City.A similar sculpture resides at the Design Center in Denver, Colorado.He also developed a seriesof sculptures for ARCO that were designed to hide/beautify the Philadel- Feature 27 phia refnery area.Tese were among a number of sculp-tural projects that were never created and exist only in the form of maquettes.Currently the Bayer family is working to try to realize some of his models as larger works in Den-ver and other cities.Bayer moved from Aspen to the Santa Barbaraarea in 1976.He lived there for the last ten years of his life.A fne collectionofhisworkcanbefoundintheSantaBarbara Museum, while Te Herbert Bayer Archive is at the Denver Art Museum, with over 9000 artifacts in the collection.During the last four decades of his life, Herbert Bayer was well employed in design positions with the Container CorporationandARCO.Inadditiontohiscorporatere-sponsibilitieshedevelopedasignifcantfneartportfolio duringtheseyears.ArtisticallyBayerisprobablybetter known for his earlier photomontages from the Berlin years (1928-1938).HavingtwosignifcantpatronsinWalter Paepcke and Robert O. Anderson, there was little need for Herbert Bayer the fne artist to go through the normal rou-tine of gallery exhibitions and reviews necessary for artwork to fnd its way into important private and public collections. TetownofAspenisfullofHerbertBayerpaintingsthat moved directly from studio to private hands.To a certain degreehisreputationasapainter,printmakerand sculptor never received the critical acclaim that ex-hibitions and reviews would have allowed.He suf-fered a bit from being too successful.InhislateryearsBayerusedhisgraphicskills to create fne art prints, using lithography and silk-screen,thesamemediumsusedinhiscommercial work.A skill learned in one area is used in another. In these graphic images, as in his later paintings, he returns to geometric design and abstraction in a se-riesofworkshecalledanthologies.Intheseworksthe Bauhaus artist has returned to basics: color, geometry and design.Te sculpture he produced during these same years still maintains a freshness today, thanks to his combination ofcleandesignandprimarycolors.Hissurrealistphoto-montages from the 1920s hold as much shock value today as they did then.Te success and legacy of Herbert Bayer are the combi-nation of Bauhaus ideas and American optimism from the post WWII period applied to a work ethic and career which lasted until his death in 1985.It is the combination of clean design and a fresh palette of primary colors that explain the continuingappealofhisartwork.Hisworkisoptimistic and easy to live with, the result of his lifelong adherence to gooddesign.Morethananyofhiscontemporaries,Her-bertBayerstayedtruetohisBauhausidealsthroughhis sixty-year career.Hugo Anderson is the Director of Emil Nelson Gallery, which represents the works of Herbert Bayer from the Bayer Family Collection.30 A|C|A January 2011EXHIBITIONSLOS ANGELESNigel CookeBlum & Poe Los Angeles[through Feb 12]NigelCooke'spaintings"hybridtheatri-calspaces"ashehascalledthemofen depictfantasticgrafti-strewnarchitecture andsupernaturallandscapes.Renderedin anaturalisticstylethatbouncesbackand forthbetweenafrmationandcomplica-tionofthecanvassurface,Cooke'spaint-ings hover in the vicinity of landscape, still life, portraiture, and narrative tableau with-out ever touching down. His current paint-ingssimilarlyfirtwithandconfoundan-otherpaintingtradition,the"fgureinthe landscapeasallegory."Departure,Cooke's three-panel centerpiece is a self-aware take ontheGermanartistMaxBeckmann's 1933-1935triptychofthesametitle.In Beckmann'spainting,imagesoftorture andbrutalitybookendacentralpanelin whichadignifedfamilysailstosalvation. In contrast, Cooke's fgures hang in the end panelspathetic,comedic,andtragicallat once, while in the central panel they writhe and wretch in a boat, tossed about on a dark etherealsea.Whetherabusedbynature's whimortheirownbacchanalianexcesses, forthemthereisnoescape.Cookede-scribes his reworking as a vision of "provin-cial philosophy lecturers sailing to Ibiza for a rave," yet falling prey to a disastrous reck-oning en route in which only one "thinker" makes it to land. Cooke imagines this avatar of hubris washed up in more ways than one, dragginghimselfandhiswreckageonto strangeshorestobegintheprocessofre-building and refecting. Te other paintings in the exhibition continue to present scenes ofthicklybearded"Masterchefs",sailors, artists,andphilosophersastheynavigate thedystopianenvironmentinwhichthey fndthemselves.Tispsychiclandscapeis peopledbydredged-upcorpses,ancient philosophersandburnt-outfrycooks,all overshadowedbythedecayingspecterof factory buildings that echo modernist geo-metricpainting.Tesehauntingportraits modelfailure,butalsoartisticproduction inthefaceofperilandcreativityonthe verge of existential self-immolation.Nigel Cooke, Washed Up Thinker, 2010, Oil on linen backed with sailcloth, 87 x 77.Sol LeWittLA Louver Venice[through Feb 26]Sol LeWitt (1928-2007), a pioneer of mini-malandconceptualartinthe1960sand 1970s,achievedamajorbreakthroughin hisworkin1968,whenhebeganemploy-ingpredeterminedline-makingproce-dures and materials usually associated with drawing or commercial art techniques. He usedthismethodtoexecutelarge-scale drawingsdirectlyonthewall.In1980,a varietyofgeometricshapesemergedas autonomoussubjects,whichinturnled LeWitttoisometricprojectionsin1982. Bydividingthesidesofthebasiccube intohalves,thirdsandquarters,andcon-nectingtheresultingdividingpointswith lines,LeWitttransformedplanarfgures into three-dimensional forms. Tis exhibi-tion,SolLeWitt:Structures,WorksonPa-per, Wall Drawings 1971-2005, will address theartistsinvestigationofthecubethe basicmodularunitofinquirythroughout his art practice with a focus on triangula-tion.Fouroftheartistswalldrawingswill bepresentedinadedicatedgalleryonthe frstfoor.DatedOctober1989,thedraw-ingsarefromtheartists620series,with formsderivedfromcubicrectanglesand superimposed color ink washes. Tese were installedintheGaleriaJuanadeAizpuru, Madrid,SpaininOctober1989,andhave not been exhibited since that time. Te wall drawings were over three weeks, employing fourL.A.-basedartists,workingwith,and directedby,GabrielHurierfromtheSol LeWitt Estate. LeWitts renowned modular structures originate from his exploration of the cube, which was the form that inspired him throughout his career. Works in the ex-hibitionrangefromseminalsquaresfrom the70sand80stotheartistsdivisionof thecubethroughtriangulation.Itwillbe roundedoutbylarge-scaleworksonpa-per,executedingouache.Comparingthe gouaches to his wall drawings, LeWitt stat-edthatonlyhecouldmakethegouaches, whichfollowedtheirownlogic,whereas thewalldrawingshaveideasthatcanbe transmitted to others to realize.SolLeWitt:(top)StructurewithThreeTow-ers, 1986, wood painted white,48.75x121.5x 48.5; (bot) Pyramid #10, 1985, wood painted white, 79.87x 47x 37.5. Courtesy of LA Louver.Exhibitions 31 EXHIBITIONSAlexander KrollCB1 Los Angeles[through Feb 20]InAlexanderKrollsfrstsoloshowin LosAngeles,Unfoldings,modestlyscaled abstractpaintingsaresimultaneously structuralandintuitive;informalandhy-per-considered;gesturalandgeometric. Alongsideaninterestinexploringbinary positions,Krollsworkdealswithscale, paintinghistory,intuition,systems,emo-tions, and painting as a conversational nex-usandmeansofproducinganobjectthat canembodyandcontradicttheseissues. His work exists at a place of complexity and intensity. Trough its conversational nature the work asserts an expanding set of ideas. As the work unfolds there occurs a process thatnecessitatesfurtherviewingandcon-tinuationofadialogbothsensualand intellectual. Kroll, 2010: (left) Untitled, oil, egg tempera, and inkonpanel,10x8.(right)detailofUntitled, oil and egg tempera on linen over panel, 12x5.More than or Equal to Half of the Whole, a twopersonexhibitionofphotographyby Kate Johnson and Siri Kaur, is a vivid explo-ration of both the power and the illusion of thephotographicmedium.Teexhibition examinestheawe,dislocationandlimita-tioninherentinphotographicpractice.Il-lusionandlimitationplayacentralrolein KateJohnson'sworkinaseriesshecalls MoreTanOrEqualTo.Foreachofthese infnityportraits-self-awarephotographs thatattempttocapturetheconceptofin-fnity-Johnsonconstructsasmallglass and mirror diorama which she then photo-graphs.Tereisasheer,crystallinebeauty ineachoftheseprismaticpieces,evenas they wryly admit to the illusion that infnity and depth are being rendered falsely with-inafnite,two-dimensionalworkspace. Johnson's hallofmirrors visualtrick(in whichimagesrepeatendlesslyagainstone another)purposefullycallsattentiontoit-self through the repeated appearance of her camera lens (as well as the green-blue edges oftheglass)throughoutthephotographs. Pairedlooselyindarkandlightopposites, thesephotographsintrigueaesthetically andentertainconceptually. Inpursuitof a profound sense of the sublime, and play-ing,likeJohnson'swork,withthedynam-icsofperception,illusion,andimmeasur-able scale is the Half of the Whole series by SiriKaur.Tisseriesfeaturesanumberof extra-galactic photographs (taken between 2007-2010 using a digital sensor attached to a Meade solar telescope on Kitt Peak in Ari-zona),alongside"faked"astrophotographs (evidencedbysuchtitlesasLightbulbwith SunspotsMadebyHand),andasingle diptych.Afershootingtheinitialframes, Kaur exacts a battery of darkroom "experi-ments" on her work by applying color flters andchemicaldrawingstoboththephoto negativesandpositives.Bymanipulating the printing process, Kaur efectively dislo-catesthesignifedfromthesignifer-dis-tinguisheswhatisrepresentedfromwhat might represent it - as her images transform from distant celestial objects into light and ultimatelybackintophysicalform,albeit much smaller, within the gallery. Rounding outtheseries,andfurtherillustratingher penchantforaestheticaweandprintma-nipulation is Kaur's stunning diptych of the AuroraBorealis,fttinglytitled(inthede-scriptivevernacularcommonlyassociated withlate20thcenturyphotography),On theLef,AuroraBorealis,WhiteHorse,Yu-kon, March 31 2008, 235 AM. On the Right, the Way I Wanted It to Look (see below).Kate Johnson & Siri KaurGarboushian Beverly Hills[through Feb 12](above) Kate Johnson, Untitled #14, 2010, from seriesMoreThanOrEqualTo,1of3,Lambda printmountedonaluminum,34x40.(below) Siri Kaur, On the Left, Aurora Borealis, White Horse,Yukon,March312008,235AM.On the Right, the Way I Wanted it to Look, 2008, Diptych 1 of 3, Chromogenic print. Each 30 x 38.32 A|C|A January 2011EXHIBITIONSMargieLivingstonhaslongbeenadmired for her abstract paintings that articulate the interactionbetweenthearchitecturalgrid andthenatural,organicworld.Basedon three-dimensionalmodelsthatshebuilds in the studio (perspective grids crafed out ofstringandwoodaroundbranchesand twigs)herpaintingsdirectlytranslatethe phenomena of space, light, color and grav-ityuponthesehybridstructuresintolines andbandsofcolorthathangseemingly suspendedinspace.Now,lettingaccident anddiscoverymeetinventionandexperi-mentation,Livingstonreversesherusual process,usingpainttoconstructobjects. Her new paint objectsbuilt entirely from dots,strips,andskinsofdriedacrylicpig-mentinvestigatethepropertiesofpaint pushedintothreedimensionsandofera compellingviewintohowthemediumof paintcanbeusedsculpturally.Withthis majortransformationofherpracticeLiv-ingstonhasmovedawayfromworking with the illusion of space and toward work-ingwithliteralspace,constructingobjects thatstraddletwomediapaintingand sculpture. Like her earlier canvas paintings, whichwereanaccumulationofmultiple gestures and parts, Margie Livingstons new paintobjectscanbeseenasacalculated decisiononherparttoshowherprocess and to reveal how I got from one point to thenextbuildingaconcreterelationship betweeneachpartandthewhole.Her goaltocreateanequivalentsenseoflight and space with minimal means (especially when a daub of paint is referencing a bit of airinthemiddleoftheroom),assertsits emphaticphysicalpresenceintheformof paintobjectssuspendedfromtheceiling, attacheddirectlytothewall,orassolid cube,slab,oregg-likeformsinstalledon work tables and pedestals. Margie LivingstonLuis de Jesus Santa Monica[through Feb 26]MargieLivingston,StudyforSpiralBlock3, 2010, acrylic, 5.75 x 6 x 6.AferTeRain,agroupexhibitionfeatur-ing Boogie, Guy Denning, Aakash Nihalani andPascualSisto,mergesandcontrasts thepalettesoffourartistswhoworkina rangeofmedia.Tepreciseneoncolor sculpturesandabstractmixedmediacan-vases of Aakash Nihalani highlight the raw, candidnatureofBoogiesblackandwhite photographs,whileGuyDenningsdark portraits,builtwithindulgentlayersof oilpaint,situatePascualSistosvideoand sculptural works in a new contextual light. Asaphotographer,Boogieissingularin hisabilitytoremovehispresenceasthe mediatorbetweenthesubjectsofhiswork and those viewing them from without. His illuminationofthecomplexityofthehu-manconditionwithouttheimpositionof hisownegoorideologiespresentsamore compellingfoundationforthecontempla-tionofhisweightysubjectmatterandthe socio-economic,philosophicalandemo-tionalcurrentsthatpressfrombeneath. He will present a series of black and white photographs.HelivesandworksinBel-grade. Guy Dennings enigmatic portraits of androgynous fgures possess a strange and ofen ethereal beauty, blending the smooth-ness of classical form with a blunt contem-poraryperspective.Sexualandtemporal politics,objectifcation,andisolationare illuminatedthroughcarefullyhonedcon-trasts of shape and shade. His will present a series of oils on canvas. . He lives and works in Finistre. Aakash Nihalanihas fashioned avisuallanguageallhisown.Teneonin his work highlights details that might oth-erwisegounnoticed,whilehisminimalist patterns form self-contained pockets which encourageexaminationbothwithinthe isolated space and of the world at large. His workofenengagesthepublicbycreating three-dimensionalenvironmentsthatcan bephysicallyentered,transformingpass-ersbyorgalleryvisitorsintoparticipants andoferingthemamomentaryescape fromdailylife.Hewillpresentnewsculp-turalworksfromhisOptiprismseries,as wellasnewworksoncanvas.Helivesand worksinBrooklyn.LosAngeles-based PascualSistosworks,whichincludeneon, video,photographyandtext-basedseries, reassessandrecontextualizearangeof historicaldialoguesthathavebeeninstru-mentalinshapingbothcontemporaryso-cietyandhisownartisticpractice.Hewill present a video installation, amongst other works, in one of the gallerys project rooms.After the RainCarmichael Culver City[through Feb 5](top)Boogie,TrainToBushwick,2005,silver gelatinprint,20x24.(middle)GuyDenning, Jocelins Nail, oil on canvas, 36x36. (bottom) PascualSisto,NeTravaillezJamais(Never Work), 2010, neon light installation based on situ-ationalist graffti in Paris, May 1968, 33 x 82.Exhibitions 33 EXHIBITIONSAnthony PearsonDavid Kordansky Los Angeles[through Feb 5]AnthonyPearson'ssculpturesandphoto-graphsare,ontheonehand,recordsofa studio practice dedicated to non-represen-tationalmark-makingandthepursuitof free aesthetic movement; on the other, they aretheelementsofavocabularydesigned tosystematizetheirrationalandinexpli-cablefacetsofartisticendeavor.Forthe frsttime,Pearsonhascreatedlarge-scale steelsculptureswhoseformsarederived fromtwoofthesephotographs.Composi-tionsoriginallymadewithinkandbrush haveundergoneacompletealchemical transformation,passingthroughthepho-tographicprocesstobecometemplatesfor three-dimensionalobjectsinspace.Until now,photographyhasservedasawayto create conceptual distance between the act ofmakingnon-representationalcompo-sitionsandtheactofdisplayingthemin thecontextofotherartworks.Here,how-ever,photographshavebeencycledback throughthestudiopractice,andhaveled toanexpansionofphysicalscale,thead-aptationofnewtechnicalprocedures,and increased conceptual reach. Corresponding developments can be seen in new examples ofPearson'strademark'arrangements', whichcombinephotographicelements with bronze sculptures made from castings. Te'arrangements'arepowerfulexamples ofinstancesinwhichPearsonappliescu-ratorial logic to the results of idiosyncratic, evenhermetic,processes.Terelationship betweenthepictorialandthephysicalis alsoexploredinaseriesofsmallbronze wall-based sculptures. Created using molds made from shaped clay forms, these works markthefrsttimethatPearsonhashung objectsdirectlyonthewall,aswellasthe frsttimethathehasexhibitedbronzes withoutphotographs.Teworkisnotonly astudyofthealchemicalrelationshipsbe-tweenmaterials,butanongoingrecordof competingforcesatplayinthestudio.As such, Pearson's practice represents the fur-theringofatraditionexemplifedbyfg-uresasdiverseasJohnCage,JacksonPol-lock and Bruce Nauman, one based in both pragmatic and rigorous experimentation.LuisCornejopaintswithcheek.Hedons prettyyoungthingswithMickeyMouse ears,tails,clownishcapsandsurrealisti-callylonghands,marringtheirexquisite beauty.Byusingslapstickandcoarsedis-tortion, Cornejo challenges our idea of per-fectbeautyandourtediousworshipofit. Cornejo has had sold out many shows and hasexhibitedindividuallyandcollectively in Nicaragua, Panama, El Salvador, Mexico, Canada and Germany.His work continues to take of, with a one year paid scholarship in Berlin and top awards from the Museum ofArtofElSalvador.Weddingpopand hyperrealism,AndriyHalashynsdys-topicdreamscapesjuxtaposemoneyed beauty with ruin, waste and contamina-tion.His canvases tell a tale of two cities in the optic language of a deadpan and painterly pop. Ukranian born but living and working in Costa Rica for over ten years,Halashynbringsacosmopolitan sensibility to his lush paintings.Luis Cornejo and Andriy Halashyn SALT Laguna Beach[through Feb 28]Andriy Halashyn. Baby Garbage, 2010, oil on canvas, 39.5x32.For more than 40 years,Olivier Mosset has challengedthehistoricalnotionofpaint-ing as an art object. Beginning with his in-volvement in B.M.P.T. (a Paris-based group ofpaintersactiveduringthemid-1960s consistingofDanielBuren,Mosset,Mi-chel Parmentier, and Niele Toroni), Mosset sought to question authorship and democ-ratizeartthrough"radicalproceduresof deskilling". As each artist became identifed withaspecifccomposition,themembers ofthegroupwouldthensigneachother's workthuscallingintoquestiontheorigi-nalityofthepainting.Followinghisafli-ationwithB.M.P.T.,Mossethasbecomea pivotalfgureinartisticpracticesspan-ning monochrome, abstract and 'Neo-Geo' painting.Byemployingvariationsoncol-or,size,paintapplication,formatandthe stretch of the canvas, Mosset has continued questioningthepreconceivednotionsof what constitutes a painting.Collaboration remainsanintegralaspecttohispractice. ForthisexhibitionMossetwillcollaborate withVincentSzarekandJefreySchadby exhibiting their custom motorcycles.Olivier Mosset Christopher Grimes Santa Monica[through Mar 5]Jeffrey Schad, Rootbeer Bike, 2004, custom. 96 in3.AnthonyPearson,Untitled(Transmission), 2010,steel,patina,sandblastedwhitePortland cement, 81 x 70 x 30 unique.34 A|C|A January 2011EXHIBITIONSForhisexhibitionFuriousSeasons,Los Angeles-based artist Josh Peters mined still images from obscure flms and drew inspi-ration from a short story by the author Ray-mond Carver, the title of which Peters uses forhisshow.Tesemostrecentpaintings canbedescribedasbothportrait-mask-iconsandfgures-in-landscapepaintings. Figuratively,thesubjectsaremainlytaken from flms, albeit mostly obscure with little inherent'iconic'valueassociated.Peters makesreferencestofgures"awayfrom civilizedsociety,"or,moreambiguously, "a sense of impending violence or spiritual awakeninglurkingjustunderthesurface." In Peters' recent work, these polarities reg-istersidebyside,beneathsurfacesboth saturatedandscrapedtothecanvas(or frequently, especially in larger scaled work, linen), and in either case, luminous with a glowthatseemstoemanatefromwithin, irradiatingbothitssubjectsandwhatever spaceithappenstoinhabit,includingthe viewer'sowninteriorspace.Mostofthis materialfallslooselyintoacategorywe mightlabelmoodoratmospheric,witha fewqualifers.Petersisclearlylookingfor certain conditions, the incident or its po-tentiality,thepossibilityofcreatingacer-tain,transformativemoment,ofcommu-nion between subject and artist and viewer. Tisisnotanarrativestyle,thespacesof thesepaintingsaretransparentlyabstract, existential, but almost quintessentially lyri-cal.[Accompanyingthisexhibitionisa catalogue featuring an essay and interview.]Josh PetersKaycee Olsen Los Angeles[through Feb 12]Josh Peters: (top) Furious Seasons, 2010, acryl-ic on unprimed linen, 65 x 86; (bot) Autumn, 2010, acrylic on canvas, 11 x 14.David Kapp & Soojung ParkRuth Bachofner Santa Monica[through Mar 12]DavidKappwasbornandraisedinNew Yorkandhaspaintedthecitysincethe 1970's.Whilehissubjectoftrafc,build-ings and skewed aerial perspectives remain intact, his current work brings in images of crowds and fgures. For Kapp, the physical paintingisjustasimportantasthescene beingdepicted;experiencingoneofhis paintings is sometimes seeing the paint and composition before the image itself. Kapps paintingsextractthedramaticcontrasts, harmoniesandformsofurbanmovement through a graceful shif between abstraction andrepresentation.Teartistrespondsto his amplifed surroundings through equal-lychargedbrushwork,yetkeepsataught, Mondrian-likestructureintactthrough-outhiswork.Kappsphysicalmovements ofpaintushernotonlyatwodimensional feel for the city, but also a physical sense for it;acuteanglesanddramaticperspectives viewed on a grand scale induces a vertigo-like sensation in some works, while in oth-ers, Kapp sets you right into the thick of ur-ban vitality. David Kapps work has been the subject of over twenty-fve solo exhibitions throughoutthecountry.Hehasreceived twoAcademyAwardsfromTeAmerican AcademyofArtsandLettersalongwitha RosenthalFoundationaward.Hisworkis inmanypublicandprivatecollectionsin-cludingTeMetropolitanMuseumofArt, Te National Academy of Design, and Te MintMuseumofArt.Inhercurrentbody ofwork,SoojungParkcontinuestocreate luminouslinearabstractionsthatplayon contrastsoffatnessandspace,buoyancy andhef.Teseveritythatseemsinitially intrinsictoParksmediumandprecisely stacked slabs in the fashion of Donald Judd, is countered by the artists treatment of the plexiglass.Subduedhuesofinksandpig-ments are rubbed into the front and back of the tablets, which are sandwiched together and arranged into grids.Te overall weight ofParksworkiscounter-balancedbydi-aphanouscolorapplicationsandthearray ofstriationswhichrangefrompencilthin toseveralinchesthick.Whereinprevious work,colorpenetratedeverysurface,her current series ofers more variation in both colorandtexture.Areasofclearplasticto playofsaturatedareasandrough,sand-blastedbandsintermixwithsmooth,re-fective ones. Parks stacked tablets seem to generate light from within as ambient light penetratesandbouncesbetweenlayersof plexiglass,allowinginfniteperceptionsto emerge. While the layered striations allude to landscape, a more intimate dialog devel-opswithin/betweenpanels,bringingthe work into a sculptural and painterly realm. Viewersbecomeimmersedinthesmokey spacesofthethickplexiglassandmilky inks while always being drawn back to the syncopated rhythms of the etched lines.DavidKapp,BigCrowd,2010,oilonlinen, 98x76;SoojungPark,JunePaige,2011,ink on plexiglass, 38x56.Exhibitions 35 EXHIBITIONSSAN FRANCISCODennis LeonPatricia Sweetow San Francisco[through Feb 12]Remembering, works from the estate of Den-nis Leon, include many of the artists semi-nal sculptures and drawings. Two bodies of drawings,DedicatedtomyFather(1984), andTickets(1994),arebroughttogether alongwithwoodandbronzesculpture fromt he same time frame. Although some yearsseparatethemakingofthesedraw-ings,theycoalesceintoapowerful,refec-tive exhibition. Dennis Leons work refects his youth on the Yorkshire Moors, with its mix of Celtic stone monuments throughout the countryside. Te work is also resonant ofhisadoptedhome,withitsrichcom-plexity of nature and artifce. With so much writtenabout DennisLeon, hislifeand work, it seems besttoofera fewinsights fromthose voices.he London-born artistseeksasimplestatementofunityin hisworks,whichisrootedinlandscape andmemory.Teanonymityinhisworks isintentional:itsnotliketheuniqueness of individuality. I tendto make things that look like no-one made them. DennisLeon:(left)DedicatedtomyFather #7,1984,pastelonpaper,30.25x44.50; (right) Heelstone, 1990, wood, saw dust, paint, 38x40x29 Courtesy Patricia Sweetow Gallery.Marco CasentiniBrian Gross San Francisco[through Feb 26]Marco Casentini, The Bridge on the Sea, 2010, acrylic on canvas, 5151.TisexhibitionofworksbyItalianpainter MarcoCasentiniwillfeaturetheartist's signaturegeometricabstractions,com-posedofoverlappingrectangularshapes inintense,saturatedcolors.Workingin acryliconcanvas,Casentinicontinueshis investigationofcolorandshapeinlimited palettesofred,blue,whiteandsilver.In eachwork,theartistincorporatespainted plexiglass panels attached to canvas, adding a physical dimension to the paintings. Te clean,hardedgesoftheplexiblendseam-lesslyintoCasentini'sgeometriccomposi-tionsandcreateunexpectedvariationsin surfaceandtexture.Casentini'sseemingly non-objective works are actually the artist's translationsofhisemotionsandenviron-ment. Each painting is inspired by a feeling, place, or memory, expressed through color andcomposition.Inlargemonochromatic canvases, subtle variations in tone give the paintings a contemplative, emotive quality. Incontrast,thelargestworkintheshow features blocks of multiple hues arranged in an energetic composition that echoes both urban architecture and natural landscapes.Max ColeHaines San Francisco[through Feb 12]Havingrefnedherpracticeoveraperiod offourdecades,NewYorkartistMaxCole has earned a reputation as a premier prac-titionerofreductivepaintingwithacon-sistently and highly recognizable aesthetic. Employingasubtlepaletteofblack,white, andshadesofgrey,thisnewbodyofwork includes a selection of gem-like small-scale pieces as yet unseen here in San Francisco. From a distance, Coles works appear to be composedofsimplebandsofcolor.But uponcloserinspection,thesehorizontal bands reveal intricate patterns of short, ver-ticalhatchmarksconsistingofalternating colors.Whatatfrstappearsdevoidofthe humanhandrevealsitselfasanaccumu-lationofsubtleimperfections.Testripes seemtovibrate,atonemomentalluding to foggy horizons or waving felds of grain, andinthenextfallingfatonthecanvass surface.Tisallusiontolandscapeisbe-fttingofanartistwhowasraisedonthe plains. Horizontal, unpopulated landscapes areasmuchapartofhervisuallexiconas isNativeAmericanthought(Colemain-tainedacloserelationshipwithherpater-nalGrandfather,whowashalf-Cherokee), and indeed, her works evolve from the ide-alofharmonywithnature,whichisatthe heartofthatculture.Colesworkhasbeen describedasobsessive,butsheprefersthe term passionate, as it is self-determination ratherthancompulsionthaturgesherto-wardscreationandcompletion.Coledoes notrelyonapreconceivedplan;thework unfolds through time and rigorous process.Max Cole, detail of Briscone Pine, 2010, acrylic on linen, 33 x 49. 36 A|C|A January 2011EXHIBITIONSNEW YORK CITYUlf PuderAna Cristea Chelsea[through Feb 19]UlfPudersquietyetforcefulpaintingsde-pictanuninhabitedworldcomposedof vast,luminousskiesandof-kilterman-madestructures.Employingadistinctive colorpalettedominatedbygraysandpas-tels and a visual language that is both fgu-rative and highly-abstracted, Puder creates images that are as inexplicably beautiful as theyarehaunting.InworkslikeWaldbad andSchwestern,house-likestructuresare composedoffatandweightlessplanesof color,butsomeoftheseplanesareaskew orsimplymissing.Tetwobungalowsin Schwesternaresobatteredthattheyap-pearalmostentirelyopentotheelements, andstraywallsfoatinwhatseemstobe anexpanseofwatercoveringtheground. OfenesGelndesuggestsaslightlynew directionfortheartist:Puderspaintings haveofensuggestedthedisarrayedand desolateafermathofanunidentifednat-uraldisaster,butinthispainting,which depictsamassivetornadoapproachinga backdropoflow-slungbuildings,weseem tobewitnessingthemomentjustbefore thedestructionbegins.BorninLeipzigin 1958, Ulf Puder was a member of the now-famedfrstgenerationtograduatefrom theLeipzigerHochschulefrGrafkund Buchkunst.AlongwithNeoRauch,alsoa member of this frst generation, Puder was uniquelysuccessfulinmeldingEast-Ger-man neo-realism with a more imaginative, dreamlike, even surrealistic vocabulary. His workisgreatlyadmiredbyandhashada tremendous infuence on a younger genera-tion of Eastern European artists. Puder has beenincludedinrecentgroupexhibitions inmuseumsinNewYork,London,Paris, Dresden,theNetherlandsandPrague.He hashadsoloexhibitionsinLeipzig,Am-sterdam, and Chicagos Kavi Gupta Gallery. UlfPuder:(top)Waldbad,2010,oiloncanvas, 71x86.5;(bottom)Abland[coverimage], 2010, oil on canvas, 83 x 59.Christian VincentMike Weiss Chelsea[through Feb 12]TunnelVision,ashowbyLosAngeles-basedartistChristianVincent,consistsof eight large-scale oil paintings, in which the artist deconstructs notions of the collective. IncomparisonwithVincentsprevious body of work, Tunnel Vision is notably re-duced in palette, line, and narrative.Even thesubjectmatter,whileadheringtothe male fgure, is more stark and streamlined. Vincentisnotconcernedwithmastering anatomicalexpertisebutratherwithcon-veyingapolemicalundertone,andinten-tionallyleavestheworksincontentious balance,overlappingpoliticalpropaganda andpopculture.Itisuponimmediateen-counterwiththeworksthattheirmassive scale divulges their confrontational under-pinning. Being larger than human size, the boysdepictedinthecanvasesareturned intomonumentalobjectsthatintimidate, demandattentionandinspireawe.Te paintisthickbutfat,asVincentcarefully sands down the remnants of his brushwork, therebysymbolicallyremovinghisfnger-prints from the works and allowing them to exist autonomously.Much akin to early to midtwentieth-centurymass-printedwar-timepropaganda,theidentityoftheartist is usurped by the message of unity, solidar-ity and conformity.In Line Up, viewers are metwithadescendingrowofyoungboys that cuts a sharp diagonal across the canvas. Teconvergencepointonthehorizonis eliminated, hinting at the infnitesimal con-tinuationofthelineup.Despitetheboys petite forms, they are endowed with notice-ably large heads, becoming cloned eugenic man-child hybrids. Teir nearly eyeless fac-es speak of their blind faith in a fgure that could evoke as much spiritual benevolence asitcouldmassdestruction.Groupdevo-tion is not meant to be outright rejected as muchaschallengedintheseworks.Tese scenes could be culled from a rock concert oracultgathering,aprivateboysschool outing or a militia camp all of which are unifedintheworshippingofamessianic fgure to which the masses turn to for salva-tion and guidance.Te desire for empow-erment through belonging, while seductive, is hinged on the acceptance that a persons dreamwouldinevitablybesacrifcedfora collective. Vincent, who was born in 1966, currentlylivesandworksinLosAngeles andhasbeenwidelyexhibitedthroughout the United States.Christian Vincent, detail of Waterfall, 2010, oil on canvas, 92 x 154. Exhibitions 37 EXHIBITIONSINDOOR/OUTDOORwillbecomprised ofworksfromthegrandarcofGeorge Rickeys career, including some of his most recognizableimagery,hisboldestvaria-tions,aswellassomeofhismostdelicate kineticcreations.Rickeyturnedtosculp-tureinearnestwhenhewasinhisearly fortieslatebymoststandardsbuthis opusisdeepthanksboththeartistslon-gevityandhistirelessworkethic.George Rickeydiedin2002attheageof96,and hadonlystoppedcreatingsculptureabout a year before his death.Tough he is per-haps most well known for his bladed line sculptures,Rickeysworkvariedgreatly overthespanofsixdecades.Atthestart, RickeysworkresembledCalderscatenary systems,thoughthoseearlymobilessoon evolved into the fnely balanced sculptures, littlemachinesasRickeycalledthem swaying,rocking,andtwistingthatgave Rickey his renown. Along with the quintes-sential blades, Rickey used rotors, squares, triangles, and trapezoids. With this show - the 16th of the artist at this gallery - the im-pressive career of George Rickey endures. George RickeyMaxwell Davidson Midtown[through Feb 12]GeorgeRickey,EtoileI,1958,stainlesssteel, copper, and brass, 26 x 64 x 64.Trough a series of eleven paintings, Robin Williams frst solo exhibition, Rescue Party, revealsasurrealworldinhabitedbyado-lescentsofambiguousgenderthatareon thebrinkofdiscoveryorrevelation.Each paintinghasadistinctnarrativebutwith no specifc conclusion.Tere is a sense of pauseineachworkwhichheightensthe sense of the impending chance for change. Williams is able to achieve this surreal time-lessnessthroughherpaintingtechniques. While at once employing traditional paint-ingmethods,sheisalsoexperimentaland intuitive.Heruseofcolor,light,texture andcompositionareallusedtoexplore painting as a medium and to link this to the conceptual content within each work. Rep-resentedthroughheradolescentsubjects, Williamsexaminestheinternalphaseof development that takes place during young adulthood.Teseyouthsinhabitalim-inal state of being; they are ofen stranded, Hopperesquefgures,posingintheircos-tumes,hopingtheirvisagewillevincean inner truth. Each of her characters is seek-ingasenseofidentity,safety,andwell-be-ing. Some choose to wait for rescue, while otherswillfullyadoptapersonahopingit will lead them toward salvation.In Rescue Party(seeright)manypossessthisstare butthereisalsohopeinthisdistantgaze. Tis painting, which pulls from art histori-cal references such as Todore Gricaults Te Raf of the Medusa, transforms the raf into a kiddie pool and although it is staged in a banal vacancy of surrounding and ges-ture, there is a sense of hope and possibility. EachofWilliamssubjectsissearchingfor meaning:seekingananswerandtheywill endeavor in the absurd until it is revealed. Robin WilliamsP.P.O.W. Chelsea[through Feb 26]RobinWilliams:(top)SwoonattheWaterpump 2010, oil on canvas, 40x60; (bot) Rescue Party, 2010, oil on canvas, 80x90.DavidAlleeMorgan Lehman Chelsea[through Feb 19]For his new show Dark Day, David S. Allee derivedthenameanditsthemefromthe manner in which he captured the images. In much of his earlier work, he photographed locations at night with intense artifcial light and extremely long exposures, catching un-real landscapes in a nether time somewhere betweennightandday.ForDarkDay,he didtheopposite.Teimagesforthisse-rieswereshotonbrightsunnydays,us-ingtinyaperturesandthehighestshutter speedspossible,withexposuresreaching 1/10,000th of a second. Tis work captures the texture of the sun's brightest refections bylettingaslittlelightaspossibleintothe camera,enablingustoseesomethingwe wouldn'tnormallybeabletosee-akind ofdog-whistlelightthatleaveseverything else in the photographs underexposed and dark.Inthisseries,thelightre-imagines many diferent structures and places in the cityscape. In 4:02PM, for example, the sun's intenserefectiononanabovegroundsub-way car flled with commuters re-imagines this everyday scene with an unusual opac-ity and unexpected starkness. Additionally, anumberoftheimagesareofglassofce buildings,whichcaptureandprovidethe bursts of blinding light that move and fash across the skyline throughout a sunny day. Te light doesn't penetrate them, nor does it illuminate- for our purposes anyway- the veiled things that go on inside the subjects here;suchplacesastheWorldFinancial CenterandtheheadquartersofGoldman Sachs, Citigroup, and other banking giants. David S. Allee: (top) 4:02PM, Chromogenic print, 40x60,ed.3;(bot)3:46PM,Chromogenic print, 60x80, ed. 3. Both from Dark Days series.38 A|C|A January 2011EXHIBITIONSBella PacifcaDavid Nolan Chelsea[through Feb 5]PresentedbyNyehaus,BellaPacifcais hosted at four venues, including David No-lan Gallery, whose selectionfocuses mainly on 6 Gallery from the 1950s. Characterized by tonal, harmonic, and rhythmic instabil-ity, the 6 Gallery exemplifes the 50s at its mostrestless,carefreeandexperimental. Teworkshownatthegallerywithinits shortlifespan(1954to1957)rangesfrom expressionism,tosurrealism,illusionism, collage,assemblageandabstraction;pure andimpure.ADADAattitudeofHilarity and Disdain had replaced the grave sense of mission that characterized the period from 1945totheearly1950s.InSanFrancisco, the Alternative Scene resulted in collective projects such as galleries, publications, jazz bands and flm-screening societies. Found-ed in 1952, the City Lights project became thecenterfortheliterarymovement,and was to poetry what the 6 Gallery was to art. Te gallery, located on 3119 Fillmore Street, wasaninformalco-opwithsixmembers andnorecordswereeverkept.Teorigi-nal6(members)wereJackSpicer,Wally Hedrick,DeborahRemington,Hayward King,JohnAllenRyanandDavidSimp-son.Te6fosteredaspiritofcoexistence not only between faculty and students, but betweendiferentartmovements,disci-plines and ideals. Some of the other artists who participated included Robert Duncan, ClyfordStill,andSoniaGechtof,thefrst woman to have a solo show at Ferus Gallery in Los Angeles, which later hosted Warhols exhibition.Beatpoetryreadingswerealso animportantpartothegalleryshistory. OnOctober7,1955,thegalleryhosted AlanGinsburgfrstreadingofhispoem Howl. Everyone present understood they had been present at one of those moments when everything changes. Cui XiuwenEli Klein SoHo[through Feb 27]CuiXiuwen,oneofChinasforemostfe-male photographers, is featured in her frst soloexhibitioninNewYorkCity.Herlat-estseries,ExistentialEmptiness,pursues herrefectiononthewomanasindividual inmodernChina.Tisbodyofworkfur-thersherfocusfromphysicaltospiritual andillustratesherexaminationandanaly-sis of the womans psyche. Te girl protag-onist,consideredtheartistsalterego,has maturedandisaccompaniedbyalife-size doll resembling her. Inspired from her own experiences,theappearanceofthepuppet withoutstringsrecallsJapaneseBunraku theatre.Companion,refection,andbag-gage of the now familiar character, the doll-complementsthegirlandactsasalterego aswell.Tetwofguresevoketheduality ofbodyandsoul,lifeandlifelessness.Te presenceandabsence,posture,closeness or distance of the doll in each work capture the relationship between the two. Te digi-talphotographsaremostlymonochrome. Te palette and format are inspired by tra-ditionalChineseinkpainting.Tescenes takeplaceintheice-andsnow-covered mountainsofNorthernChina.Tequiet, ethereallandscapeactsasaperfectset-tingforexploringthemind.Tephysical appearanceofthedollobviousjoints, revealedribcagebonesandscarredwomb alludes to the violence of a womans ex-periencesandhowtheyimpressuponher spirit.Tesparsenessofthescenescreates an absence of temporal sense, emphasizing the subjectivity of existence.Cui Xiuwen, (above) Existential Emptiness No. 18,c-print,56.7x118;(below)Existential Emptiness No. 20, c-print, 37.4x118 (pg. 6).(top) Sonia Gechtoff, detail of The Angel, 1955, oiloncanvas,72x67;(bottom)DeborahRem-ington,detailofBlastedBeauty,1954,mixed media on paper, 30x24.Exhibitions 39 EXHIBITIONSTeinspirationthatSeattle-basedartist John Dempcy fnds in molecular structures is greatly evident in this new body of work, Wild Type. Te forms closely resemble that ofcells;smallbodiesworkingtogetherto makeamorecomplex,advanceimage. Te colors are brighter than past work, the formsclearer,andthroughoutallisanew additionofwhite,whichwasnotquiteas abundantbefore.Tewhiteofsetsthe brightlycoloredpaint,creatingacontrast tothepresenceofintensecolorwithits more absent qualities. Te white space adds ashimmeringqualitytothework,despite it'sbeingamattefnish.Itinterruptsthe business of the work and instills a sense of calmamongstthebeautifulchaos.Teor-ganicformsfoattogether,sometimeslike fowerpetalsalongastream.Init'sabun-dantsimplicity,thereisanoverwhelming senseofconnectivitybetweentheworks, each presenting a new yet familiar image.John DempcyWalker Contemporary Boston[through Feb 12]BOSTON / PHILADELPHIAAl LovingSande Webster Philadelphia[through Jan 29]AlLoving(1935-2005)isoneofthemost intriguingartistsofthe20thcentury.His work had a personal trademark created by extending the ideas of abstract expression-ismintrulyoriginalandgroundbreaking ways.Hisdistinctiveworkunitedinfu-ences from the abstract expressionist Hans Hofman,coloristJosefAlbers,andopti-calillusionistViktorVasarely.Hewasnot simplyanabstractpainterbutratheran artistwhoredefnedtheboundariesofab-straction throughout his career. A native of Detroit,LovingburstontotheNewYork scenepaintinghard-edgedgeometricab-straction in the late Sixties. Loving was the frst African-American artist to have a one-man exhibition at the prestigious Whitney MuseumofAmericanArtin1969.Inthis landmarkexhibition,Lovingsucceededin breakingracialbarriersandopeneddoors forotherAfrican-Americanartists,prov-ingthatabstractionwasaviablewayof working.Inspiredtocreateworkbeyond the boundaries of geometry and traditional painting on a stretched canvas, Loving be-gan moving toward the expressive freedom foundinthecollageprocess.Teselater worksweremorefuidandfreeform:lay-eredconstructionsofragpaperpaintedin vibrantacrylicsandcrafedintoelaborate compositions.Lovingreferredtotheseas-sembled works as material abstraction. Tis body of work introduced the iconic spiral-ingforms.Tespiralafrmedapersonal connection to the natural cycle of continu-ous growth and defned time and space ex-tendingouttowardsinfnity.Tedriving referenceforallofLovingsworkistheis-sue of space. He succeeded in expressing a new and dynamic spatial and aesthetic ex-periencethatpushedhisworkbeyondthe limitations of perspective and the modern-ist notion of the fat picture plane. Tis rare exhibition which will include a wide variety ofmixedmediaworksandprints.AlLov-inghasexhibitedinternationallyandhis work is held in numerous major collections in museusms throughout the world. AlLoving,Life&ContinuedGrowth#12, mixed media on paper, 29 x 22.Dempcy, Coronado, acrylic on clayboard, 30x30Forhisnewgroupexhibitionofdigital media,alterations,curatorandartistPeter Campussoughttounderstand"thetrans-formationofoursocietytoanageofelec-tronics, He writes that it was so rapid and unexpectedthatthetimeelapsedtoallow retrospectivethinkingisalmostnon-exis-tent in its brevity. We dont know the dan-gers contained in this age; it is too soon to know, and too integrated to identify. In this presentation there are fve diferent messag-es, fve diferent points of view, that present only a fraction of the message." Te videos ofPeterCampusprovidehopefulimages as a remedy for the anxieties of contempo-rarylife,whileNaydaCollazo-Llorens createsmulti-mediavideoandinstalla-tions to underscore the complexity of the mindandtheobstaclesofcommunicat-ingthought.KathleenGravescombines currenttechnologywithobjectsfrom the past. Jason Varone is inspired by the advancement of society through technol-ogy and its decline from eroding resources.alterationsLocks Philadelphia[through Feb 5]PeterCampus,Infections:changesinlight andcolouraroundPonquogueBay,2009, high defnition multi-screen video installation.40 A|C|A January 2011EXHIBITIONSWASHINGTON DCBoundHamiltonian Washington[Jan 22 - Mar 5]SaturnaliaIrvine Washington[through Feb 12]Simon Gouverneur and Andy Moon WilsonCurators Offce Washington[through Feb 15]Bound,anexhibitionofnewworksby KatherineMannandSelinBalci,exam-inethelimitsoftheirmedium,aswellas notionsofhumanitywithinanexpanded ecologic understanding of the living world. WhetherinBalci'slaboratoryapproach orMann'spainterlyexploration,bothart-ists create vivid abstractions, ripe with no-tionsofgrowth,wonderandsubjugation. Katherine Mann's oversized, abstract works onpaperconsistofaccumulationsofse-quins,paintandink,whichillustratethe potentialityofgrowth,aswellastheperil ofoverabundance.Ithinkofmyworkas baroque abstract, a celebration of the dispa-rate says Mann, who creates carefullycom-posed felds with moments that are at once chaotic,organized,thrivinganddecaying. Katherine Mann elegantly builds her paint-ingswithhoardsofambiguousformsre-calling elements found in systems of nature andinthehighly-decorative,resultingin amenagerieofdepthandcolor.Byutiliz-ingtraditionallabprocedures,SelinBalci createsmicroenvironmentsbyincorporat-ingbiologicalmaterialasanewartmedia toexploretheliteralprocessoflife.From sterilebeginningsthegrowthofmicrobes demonstrate a turbulent arc of life within a largely imperceptible world.Balci's simple living organisms live and die within a net-work of biological exchanges highlighting a widerangeofbehaviorssimilartothehu-man equivalent of social exchanges.Katherine Mann, Net, 2011, acrylics and sumi ink on cut paper, 90x102.Saturnaliaisagroupexhibitionofnew byTeoGonzlez,MelissaIchiuji,Hedieh JavanshirIlchi,AkemiMaegawa,Alexa Meade,SusanaRaab,andNicholasKahn &RichardSelesnick.TeoGonzlezsnew paintingschallengetheboundariesofor-ganicandgeometricformthroughapro-cess of abstraction from the colors of skies over specifc city locations. Gonzlezs new series of works are based on photographs of skies, which he uses to map a color palette inPhotoshop.MelissaIchiujisnewwork expandsonherapproachtomaterials, identities,domesticspace,andsexualities. Hersculpturesandinstallationsareper-formativeworksandstagedfantasiesthat ofenexploretheboundariesofchildhood innocenceandadultself-consciousness andrepression.Eachsculptureissewnand assembledfrommanymaterials.Hedieh JavanshirIlchipresentsnewmixedmedia paintingsonMylarasprovocativevisual essaysonPersian,Iranian,andAmerican cultural identities. Ilchi uses militarist icons ofthecurrentIranianregimeasinvasions anddisruptionsofapossibleculturalco-existenceandminesimageryfromboth Persian culture and Western abstraction.Debt,anewexhibitionfeaturingSimon GouverneurandAndyMoonWilson,is notaboutmoney.Rather,itisaboutthe slipperyterrainofartisticdebt.In2006, artistAndyMoonWilsonwasintroduced totheworkoficonoclasticandabstract symbolist painter Simon Gouverneur, who had been based in Washington, DC, for the last decade of his life prior to his suicide in 1990.AndyMoonWilsonhasspenthisar-tistic career exploring the infnite possibili-ties of visual design and ornament both as an artist and in his day job as a carpet de-signer. Simon Gouverneur also investigated global visual design motifs in his paintings andnotebooksketches.Bothartistsshare afascinationwitharchetypalabstracted formsthatcancommunicateonbotheth-nographicallyspecifcanduniversallev-els. But there is where the similarities end. WhileGouverneurintendedaprofound and rigorous spiritual engagement with his artwork, Moon Wilson rejects this spiritual questinfavorofanexplorationofthein-tensely visual as it expresses itself both his-torically and, more importantly, in contem-porary culture. Mostly, the artist just draws compulsively. But it is an intoxicating visual experiencetopresentthesetwoartiststo-gether.Gouverneur'stwolargepaintings are fanked by hundreds of Moon Wilson's small intense works on paper.Andy Moon Wilson, Untitled, 2010ink and acrylic on paper, 10 x 10Courtesy of Curators Offce, Washington, DC.Hedieh Javanshir Ilchi, detail of As we waited we were longing for Springs sun, 2010, acrylic and mixed media on Mylar, 78x60.Courtesy of Irvine Contemporary.Exhibitions 41 EXHIBITIONSSOUTHWESTTony Cragg was born in Liverpool in 1949. Craggsmainartisticexpressionissculp-ture; however prints are also a strong show-caseinhisoeuvre.Teworksincludedin his series Test Tubes and Bottles are some of the most recognizable and are being repre-sented in the show.In sculpture, he works inmetal,glass,andplasticfabrication,as wellasintraditionalsculpturematerials, and applies a casually exquisite drafsman-shiptodrawingsandprints.Inthelate 1970s, he began making wall sculptures of assembled found objects, and has said, sur-prisingly, that in doing so he was thinking of van Gogh.Van Gogh, Cragg explained, wroteaboutgoingthroughthetrashasa fantasyjourneythroughalandofstrange formsandcolors.CraggwaselectedRoy-alAcademicianin1994.Hisworksarein manyprivatecollectionsbutalsofound extensivelyinmanypubliccollections,in-cludingTeTateGalleryinLondon,the NewYorkPublicLibraryandMuseumof ModernArtinNewYorkCity,theAlber-tina Museum in Vienna, and several corpo-rate collections among them Estee Lauder. In2007hewasawardedthePraemium Imperiale,amajorprizeforoutstanding achievement in the arts that is given by the Japan Art Association.Tony CraggZane Bennett Santa Fe[through Jan 28 - Feb 18]Cragg, Spores, T.P.E., 1988, etching, 23x24.5.Terence La Noue's uniquely riven and reas-sembledsculptural-paintingshavegained himworldwiderecognitionandovera hundredandfortyacclaimedsoloexhibi-tionsthroughoutLondon,Paris,Tehran, Stockholm, Cologne, New York, Los Ange-les, Atlanta, Tucson, and Scottsdale. Muse-umssuchasTeMuseumofModernArt inNewYork,TeMetropolitanMuseum of Art, the Guggenheim Museum, the Tate ModerninLondon,andothersinJapan, Singapore,FranceandAustralia,havein-cludedhisworkintheirpermanentcol-lections. One of the most intriguing quali-tiesbehindLaNoue'sbrilliantlycolored mixed-media paintings, is the way La Noue createsthem.Hestartsbycombininglay-ersofcoloredacrylicwithcottonnetting and acrylic saturated canvas into low-relief molds,andallowsthemtodryovernight. LaNouethenproceedstocutthedried reliefsintosectionsandshards,whichhe laterunitesinvariouswaystomakeupa fnished work. Te ending efect is a multi-dimensionalartpiecethatispartmosaic, parttapestry,partpainting,andevenpart sculpture.Tediverseshapes,colors,and textures that are created invite the viewer to divulge into the intricacies of the painting, whileatthesametime,enjoytheworkof art as a whole.Terence La NoueBentley Scottsdale AZ [through Feb 6 - Feb 26]Terence La Noue, Return to Dakar, multimedia on wood, 33x46. Mike Stack & Steve Murphy Davis Dominguez Tucson[through Feb 26](above)MichaelStack,Pilot,2010,oilonlinen. (left)Murphy, Big Brother, 2007, leadened wood. Mike Stack constructs paintings of thin hor-izontalstripsofoilpaint,foracolorfeld that shifs vertically in shimmering optical efect.Likesomanymodernpainters,his works are fundamentally twodimensional yetconveyasubtleillusionofdepth.His drawingsarehighlyworked,spontane-ousexercisesinprocess,whereorderis wroughtfromnon-specifcgesture.Inhis introductoryexhibit,SteveMurphytakes the Minimalist road to expression in highly refned,severelyreducedmetalsculpture. His simple shapes are proportioned to cre-atesubstantialvolumetricweightandse-ductive360degreeviews.Boththeseart-ists have accomplished the abstract ideal of provokingthoughtandemotionthrough non-defnable form.Luc LeestemakerSongs of the Unconscious1020 Prospect, Suite 130, La Jolla, CA 92037 (858) 459-0836www.madisongalleries.com2010.21.80X72INCHESMIXEDMEDIAONCANVASHERBERT BAKERSELF-PORTRAIT1932EMIL NELSON GALLERY2864 COLORADO AVESANTA MONICA, CA 90404310-266-9904FROM THE BAYER FAMILY COLLECTIONKOKAYCEEOLSENGALLERYXicana Pop Peyote Earring 2008 86(h)x 14 (w) x 16 (d) LNDA VALLEJO exhibitions and special projects 2011 The California/International Arts FoundationsNew Encyclopedia L.A. Rising: So Cal Artists Before 1980 written by Lyn Kienholz and overseen by Joan Weinstein, Associate Director of the Getty Foundation L.A. XicanoMapping Another LA: The Chicano Art MovementUCLA Chicano Studies Research Center in collaboration withGetty Southern California Research initiative Pacific Standard Time: Art in Los Angeles 1945-1980 curated by Pilar Tompkins Rivas scheduled to open at the Fowler Museum, Fall 2011 Doin It in Public: Art and Feminism at the Womans Buildingas part of theGetty Southern California Research initiative Pacific Standard Time: Art in Los Angeles 1945-1980 scheduled to open at the Ben Maltz Gallery, Otis College of Art October 2011 Fierce Beauty: The Art Work of Linda Vallejo GO TOwww.lindavallejo.com TO PREVIEW full color 220 page bookwith over 100 color plates with essays by Betty Ann Brown, Peter Frank, William Moreno,Gloria F. Orenstein and Sybil VenegasMake Em All Mexican Two Solo ExhibitionsAve 50 Studio Highland Park, CA curated by Dr. Karen Mary Davalos opening in April 2011 ChimMaya Gallery Montebello, CA full color catalog opening in October 2011

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