Art Talk with Prof. Gregory Mattson
Saturday 10/20 130-3pm
Los Angeles Center for Digital Art
104 East 4th Street
Los Angeles Ca 90013
*An Iconography of Desire
John Waiblinger is a new media artist who explores masculinity and desire through his Post Photography compositions. Hailing from an academic background with degrees in English, Women’s Studies and Library Science, Waiblinger redefined himself as an artist in his early 60’s, first exhibiting work at the Los Angeles Center for Digital Arts.
The Beauty of Men* (an iconography of desire) is Waiblinger’s first solo show, appropriately taking place at the gallery in which he first showed his work. His work presents men he has appropriated via their pornographic performance and reconstructs then within the realm of his imagination.These images combined with his own photographs portray a masculinity that celebrates softness and intimacy that he believes creates a tension between the normative and the transgressive. Waiblinger states that his intent is “to investigate and illustrate how such juxtaposition can broaden perceptions and understanding of masculinity.”
Waiblinger uses his fixation on the beauty of men to transfigure the carnal into his own embodiments of adoration and celebration.
John Waiblinger is a new media artist who explores masculinity and desire through his Post Photography compositions. Hailing from an academic background with degrees in English, Women’s Studies and Library Science, Waiblinger redefined himself as an artist in his early 60s, first exhibiting his work at the Los Angeles Center for Digital Art (LACDA) in 2014. Since then he has continued to exhibit in galleries and has established a small group of collectors. His most recent work was a collaborative installation project with artist Sean Yang at the Cerritos College Fine Arts Department focused on the “coming out process”. Waiblinger is a member artist of LACDA and was accepted as a member of the Los Angeles Art Association this year.
May 2-30, 2018
School of Visual Arts Project Spaces CE
The School of Visual Arts (SVA) presents Searching, a solo show by artist Kathryn Hart. The exhibition will be on view from May 2-30, 2018 in the Project Spaces CE locations at 209 East 23rd Street, Main floor, and 380 2nd Ave, 8th floor. This is Hart’s first solo show at the SVA.
In this solo exhibition, Hart explores the web of emotions confronted in the search to begin anew, and the burden of choice. She continues her dialogue with evolving identity and the hope for new beginnings amidst a maze of emotional conflict, pain, and self-doubt.
Hart offers, “after life leaves us tumbled upside down, completely derailed, we pick ourselves up and begin the search for…personal truth, enlightenment, growth, love, connections, a place to feel comfortable, a place to call home. We even search for the place to start the search. My flightpath was obliterated by an onslaught of happenings – my husband’s cancer, the deaths of both my parents, and my own struggle with an ongoing disease and trauma. How do I move forward?
The search starts with one intent, one thought, one moment, one breath, one catalyst, one cell, one dot. A series of dots, actions, sparks, ideas, or energy becomes a line, a trajectory. Lines reveal potential paths ahead and scars of the ones just followed.”
Kathryn Hart presents this theme across an array of media, which further illustrates the plethora of options for the journey. An on-site installation of hundreds of lines, wires and embedded glass lenses explores the miasma of available routes, some more circuitous and arduous, some involving forced self-reflection. Hart uses these laboriously hand tied knots and line to translate a period of unsettling uncertainty into a path to move forward. Shadowy lines hover behind the actual as beacons or footprints. Ink drawings, reminiscent of ancient cave drawings, indicate the inception of thought and movement. Abstract black and white photographs of found bones allude to structure, life, and an archeological excavation for hidden meanings. There is simplicity and strength in their starkness. The exhibition also includes complex hanging sculptures with line and objects embedded into dense surfaces. In all the presented artworks, Hart examines the dichotomies of movement and stillness, contemplation and decision, and space and line, and the importance of the duality in the search.
“Line represents journey, connections, strength, simplicity, scars, tethers, and choice. Knots can be entanglements, junctures, bindings, obstacles, hurdles, gates and coupling. I learned suture knots from my plastic surgeon father. His knots would both join and conceal.”
Hart delves into the tension between the search and choice, and ultimately, personal accountability. “We are bound by the choices we make. In the end, my search and its discoveries are all up to me.”
“I am inspired by many artists, particularly the poetry and bravery of Eva Hesse, the bold structures of Lee Bontecou, and the power and personal revelations of Louise Bourgeois.”
Kathryn Hart is a multi-disciplinary artist who exhibits frequently in New York City, throughout Europe, and most recently, Los Angeles. Museum, solo and group shows include Ateneo de Madrid (Madrid, Spain), Howland Cultural Center (Beacon, NY), IDEA Space/Colorado College, Andre Zarre Gallery (NYC), the Chelsea Art Museum (NYC), ArtHaus (Denver), Galerie SD Szucha 8 (Warsaw), Galeria 33 (Poland), Zamek w Goluchowie, (Poland), Myslenice Cultural Center (Poland), the Oceanside Museum of Art (CA), Museo de Castello de Estense (Italy), The Mitchell Museum (MD), Southern Nevada Museum of Fine Arts (Las Vegas), and the Colorado History Museum.
Her artwork is in the public collections of the Ministry of Culture of France, the Ministry of Culture of Poland, the Southern Nevada Museum of Fine Arts, the Myslenice Cultural Center (Poland), and many private collections worldwide.
International awards include scholarships from the Council of Europe (2016), and the Ministries of Art and Culture of France and Poland (2015, 2014), and the United Nations Harmony for Peace Award (2010).
Hart is a member of A.I.R. Gallery in Brooklyn, NY. She holds a B.A. from Boston University, an MBA from the University of Texas at Arlington, and has extended studies in art from the School of Visual Arts in NYC and the City of London Polytechnic. Hart lives in Colorado.
Shoebox PR is proud to share the exciting work of our artists and their latest exhibitions. We are honored to work with a diverse group of contemporary artists whose work ranges through conceptual, narrative, surreal, technical, historical and scientific. You will find them poetic, heart wrenching, awe-inspiring and more. Our artists are collected; they have press histories, growing resumes and they are making things happen.
If you are planning an important and thought provoking exhibition, our artists may provide the impact you want. We are happy to arrange studio visits, interviews and articles with our growing list of emerging and mid-career artists.
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Glenn Waggner’s latest body of work combines landscapes, architecture and figures in alternate worlds. His solo show, The Existential After Party, at Neutra Institute Gallery & Museum, opens March 31, with a reception 7–10 pm, until April 15.
Shoebox is pleased to welcome Frederika Roeder to our group. Frederika is a painter influenced by a passion for extreme sporting, as a surfer and skier. She is currently showing Naked As a Daisy exhibit at Shockboxx to March 25 and in Art in Place at Art Exchange until May 6. She will also be in StArt Up Art Fair San Francisco April 27-29.
Robert Nelson is gearing up for a busy 2018. Robert has work in “Bottle Rocket to the Future” at Lyceum Gallery presented by West Coast Drawing until April 15 and you can find Robert’s work in Art in a New Place, at Art Exchange in Long Beach until May 6. Coming up this year, Robert has two solo shows. From August 11 to September 30, Robert will be at MOAH Lancaster with new work and then, running October 20 to November 30, Robert’s Dialog with the Future series will be at LAAA/Gallery 825.
Douglas Tausik Ryder creates large scale sculptures that replicate the look and feel of traditional, crafted objects but are made with computer-aided technology. Douglas will be having a solo show of his large works at Jason Vass Gallery in October.
Steve Seleska has recently closed shows at Irvine Fine Arts Center, Shoebox Projects, Coagula Curatorial and the San Luis Obispo Museum of Arts. Steve is currently at work in his studio getting ready for future exhibitions.
Jeff Iorillohas work in Black at The Loft at Liz’s until March 26. In April Jeff will be part of “Scranch”, a group happening in Twentynine Palms. Then, opening May 3, he will be in a three-person show at LA Artcore Brewery Annex.
Hosted by Claremont Graduate University
Juried by Howard N. Fox
Opening reception: Sunday, March 25, 2-6 pm
Exhibit on view from March 24 – June 2, 2018
Millard Sheets Art Center (at the Fairplex)
1101 W. McKinley Avenue, Pomona, CA 91768
Gallery Hours: Saturday and Sunday, 10–5pm
By appointment only Monday through Friday.
To make an appointment, contact Thomas Canavan at email@example.com
or email the SoCalMFA team at firstname.lastname@example.org
SoCalMFA reflects an increasingly diversified portrait of emerging artists in L.A.
This year’s SoCalMFA organizers, in conjunction with the Millard Sheets Art Center and Claremont Graduate University, are pleased to announce the third and largest annual Southern California MFA exhibition in Millard Sheets’ newly-renovated facility. Juried by Howard N. Fox, the exhibit captures 42 artists representing 17 Southern California MFA programs, using media that includes painting, fabric, sculpture, video, photography, installation, drawing, mixed-media, and more. Taken together, this exhibit is a barometer of the diverse critical and aesthetic concerns that will shape artistic production in Southern California for years to come. The exhibition also reflects Claremont’s Graduate University’s leadership as a center for artistic and cultural production in Southern California at the graduate level.
This year’s SoCal MFA organizing team is made up of former and current Claremont Graduate University students Madeline Arnault, Chelsea Boxwell, and Megan Kinney. The exhibition is the largest MFA exhibition in both number of works exhibited and number of schools represented. The 2018 exhibition includes 17 out of 18 eligible MFA programs in Southern California.
Since 2016, the SoCalMFA exhibit has called upon a guest juror to select works and curate, beginning with Steve Comba (2016) and Amanda Ross-Ho (2017). This year the juror will be Howard N. Fox, an independent curator and former Curator of Contemporary Art at the Los Angeles County Museum of Art (LACMA).
We invite the public to explore this exhibition’s complex perspectives and overlapping themes and invite you to attend the exhibit’s opening reception on Sunday, March 25, from 2-6 p.m.
Accompanying the exhibition will be a public panel led by CGU Professor of Art Theory and History and LA Times art critic David Pagel. The panel will be free and open to the public and will address the culture of the MFA program. Selected artists from the exhibition will join Pagel in this discussion with a Q&A session from the audience. Dates and times will be posted on the Fairplex website and SoCalMFA’s Facebook Page. Please stay tuned for more information.
Participating artists: Madeline Arnault (Claremont Graduate University), Diego Barrientos (Cal Arts), Aurora Berger (Claremont Graduate University), Deitra Charles (Claremont Graduate University), Patricia Chow (Claremont Graduate University), Ji Soo Chung (UCLA), Carey Coleman (UCLA), Remi Dalton (Cal State San Diego), Yubo Dong (UC Irvine), Stevan Dupas (Cal State Long Beach), Jenny Eisenpresser (Art Center College of Design), Samantha Fitzmorris (Claremont Graduate University), Leslie Frank (Claremont Graduate University), Joshua Freeman (Azusa Pacific University), Molly Gabbard (Cal State San Diego), Eleanor Greer (Cal State San Diego), Timothy Haerens (Cal State San Bernardino), Harrison Halaska (Laguna College of Art and Design), Allison Holland (Cal State Fullerton), Lucy Holtsnider (UC Santa Barbara), Anna Laleggio (UC Irvine), Chloe Jeongmyo Kim (Otis College of Art and Design), Aleya Lanteigne (Cal State Sand Diego), Jian Liang (Claremont Graduate University), Jane Margarette (UCLA), Michelle Nunes (Cal State Northridge), Shane McClatchey (Laguna College of Art and Design), Moses Muturi (Cal State San Diego), Aydinaneth Ortiz (Cal Arts), Joshua Rains (Univeristy of Southern California), Rebecca Rich (Claremont Graduate University), Celia Rocha (Otis College of Art and Design), Heather Roessler (Cal State San Bernardino), Cintia Segovia (Cal State Long Beach), Kamaria Shepherd (UCLA), Nicole Waszak (Cal State San Diego), Charisse Weston (UC Irvine), Amy Williams (Cal State Long Beach), Ji Hyun Won (University of California Riverside), Jonathan Yacoub (Claremont Graduate University), Zebulon Zang (UC San Diego), and Benjamin Zhao (Claremont Graduate University).
Claremont Graduate University
Millard Sheet Arts Center
About Howard N. Fox
From 1985 through 2008, Fox has organized numerous major exhibitions and authored their catalogues. Some of his exhibits include Avant-Garde in the Eighties (1987), A Primal Spirit: Ten Contemporary Japanese Sculptors (1990), Lari Pittman (1996), and Eleanor Antin (1999). Fox recently returned to LACMA as guest curator for the critically acclaimed survey exhibition Playing with Fire: Paintings by Carlos Almaraz.
About David Pagel
In addition to his position at CGU, Pagel is an adjunct curator at the Parrish Art Museum in Water Mill, New York. He also writes regularly for the Los Angeles Times. Since 1988, he has published reviews, features, and essays in Artforum, Art in America, Flash Art, frieze, and Art Issues, where he was reviews editor from 1998 to 2001.
About CGU Art and the School of Arts & Humanities
The School of Arts & Humanities is home to a unique approach to graduate education, offering students the opportunity to study in and across disciplines as they “follow the problem.” Its research and teaching transcend academic boundaries and disregard the artificial divides between theory and application. Intimate seminar-style classes mean students build close working relationships with faculty-mentors, who in turn will help them thrive academically and launch meaningful careers.
About Fairplex and the Millard Sheets Art Center
Through its exhibitions, educational programs, events and workshops, the Millard Sheets Art Center provides the community with meaningful experiences within the world of visual arts. As part of The Learning Centers at Fairplex, the center engages the community at multiple levels of education and its exhibitions promote the rich and diverse cultures that lie within Los Angeles County and Southern California. Fairplex is an educational and entertainment complex that is home to the L.A. County Fair and 500 year-round events.
March 17th-April 20th, 2018 Opening reception: Saturday, March 17th, 6-9 p.m.
LAAA | Gallery 825 825 N. La Cienaga Blvd., CA 90069 Ph. 310.652.8272
Randi Matushevitz’s unmasked expressionism
(Los Angeles, California) – Gallery 825 is pleased to present a solo exhibit with L.A.-based artist Randi Matushevitz whose works on canvas deliver an unmasked view of humanity within our current socio-political climate. Matushevitz’s themes of social inequities seen from the point of view of the homeless and technologically-mobile paint a stark portrait of humanity.
Matushevitz further draws upon contrasts materially, through dense networks of markmaking, stenciling, spray-painting, and traditional painting in oil and acrylic. The works’ charged positive and negative spaces illuminate her subjects conflating tender vulnerability with violence and dislocation.
Matushevitz draws upon and resonates with the aesthetics of German Expressionism whose adopters reacted to the rise of academic art, nationalism, and militarism leading up to, and during World War I. Expressionism’s narratives advanced humanistic ideas of social displacement, alienation, urbanization and eschewed formal conventions of Impressionism and academic art. In her 2017 essay Expressive Intensity, writer Betty Ann Brown articulated in Matushevitz’s art, an essential expression of the “…the human condition, our quest for connectivity, and the pain we all suffer in this earthly existence.”
The public is invited to attend Matushevitz’s opening reception on Sunday, March 17th, 6-9 p.m. where the artist will be on hand to discuss her techniques and questions.
Identifying himself as a Queer Artist, John Waiblinger creates art images that celebrate male beauty. He came to his practice in middle age when he realized that digital tools offered him the chance to translate his ideas into reality. John’s series, “Journey”, will be on view in “Window Dressing” at Cerritos College Art Gallery March 19-26, with an opening reception Monday, March 19, 4-6 pm.
These images are reflective of my growing body of work around a theme I’ve been exploring for some time now … my own relationship with male beauty, eroticism and romanticizing a Queer sensibility. I’ve been re-visioning some of the images I’ve collected over the years, establishing them in a new context, from a different perspective. Many of the men in these images have been collected from ‘hard porn’ sites and I’ve re-positioned them, re-imagined them in a different context, merging them with my own photographs as the basis for this re-visioning. So each work is a layering and recombination of two very different images.
The work is rather emotionally driven. Each of these men or couples has touched me on both an emotional and aesthetic level – caught my eye (and my “heart” so to speak) from a perspective other than raw sexuality, and I strive to communicate that vision in each piece. My thought is to perhaps humanize, respect and admire them from another angle than the context in which they were originally captured. Each of these men exists, after all, outside of the context of pornographic performance. My engagement with these images encompasses many hours of re-thinking and re-imagining who these men might be and my own sense of relationship with them.
Legally blind after suffering a stroke, photojournalist J. Fredric May turned his abilities to digitally manipulating vintage portraits to communicate his new visual reality. J. Fredric’s work will be in a two-person show at Keck School of Medicine of USC, opening March 5 through April 19, with an artist talk on March 28. As a Winter 2017 Finalist, J. Fredric’s work will be in the 2018 FOCUS Photo LA competition, March 15 to 18. In the meantime, he is preparing for a solo exhibition of “Apparition: Postcards from Eye See You” at Blue Sky Gallery in the Oregon Center for the Photographic Arts, April 5–29, in Portland, OR.
In this selection of enigmatic portraits, photographer J. Fredric May invites the viewer to see as he does. These unique prints, the culmination of experimentation and innovation, bear testament to May’s core strengths.
To see is a transitive verb meaning it denotes an action in relation to an object. Seeing is not a solitary or isolated act. We create and store a ceaseless visual loop of information, which continuously feeds our perception. Sight involves rapid-fire motor activity; electrons are fired, synapses jumped, organs alerted and hormones secreted, all within milliseconds. May’s vision was irreversibly altered when a stroke from an aortic aneurysm took 46% of his vision in 2012 rendering him legally blind.
May was raised by collectors, inventors and engineers who instilled in him his active participation in regeneration. He learned creativity is always a process of combining existing elements. As a teenager, he taught himself to develop film following instructions from the World Book Encyclopedia. He then hacked his father’s slide projector to create a darkroom enlarger. Hooked on photography he studied science and illustration at Brooks Institute. May honed his vision and made his living as a photojournalist and commercial photographer. He earned the reputation of capturing the singular photo capable of wordlessly transmuting the impact of an event. His editor called it the “A-one shot” and often ran it as the cover image of a news story. He worked as both a news agency and freelance photojournalist for a dozen years before founding Penny Jar Pictures, an industrial filmmaking production company, in 1999.
Following his stroke, May embraced his limited sight as a challenge. He faced the additional experience of vivid visual hallucinations, a result of Charles Bonnet syndrome, with curiosity. In theory, this syndrome is thought to be the brain actively regenerating visual imagery in an attempt to fill what is now an opaque blur. During his rehabilitation, May picked up his iPad and started to do what he does instinctively which is to explore.
These archival pigment prints are a hybrid of analog and digital processes. May begins with vintage portraits, which he scans and puts through data corruption software. He then creates layered composites and prints theses as cyanotypes. He bleaches and tones his cyanotypes with a mixture of photo chemicals and tea. Ultimately, he digitizes the altered cyanotypes and creates an archival pigment print.
In an ironic parallel, the digital technology May uses mimics the interrupted brain activity he experienced firsthand. Secondly, his art making accelerated his recovery and may have improved his functioning beyond traditional rehabilitation methods, thus inspiring researchers to study alternate treatment for stroke patients. In a final twist, May has replicated in fine art his talent for capturing an in-depth story in a single image.