(Los Angeles, California) – Jason Vass is pleased to present Lines of Inquiry, an exhibition of paintings and works on paper by A.M. Rousseau. Rousseau is a multi-disciplined artist, writer and photographer currently living in Southern California who has exhibited her work nationally and internationally. Rousseau’s works are imbued with an investigation of line. She takes her inspiration from a Paul Klee dictum: “Take a line for a walk, aimlessly for the sake of the walk.” She sees each line as a metaphor for the way life happens: one point leading to another, ever changing. For her, “Every line is a reflection of individual will, a unique indicator of purpose and direction, just as in hieroglyphics, a kind of handwriting that can be read if the system of mark making is understood.”
The works on view range from black and white works on paper like Downward Hang, and Left Leaning in which a succession of quasi concentric black lines gracefully flow as if suspended across two supports. The algorithm used in creating these works becomes more complex as Rousseau moves across multiple sheets of paper adding color into the mix. In works like Fire and Ice Quartet and 100 Line Rush Triptych the undulating curves have a wave-like pattern reminiscent of an abstracted ocean. When Rousseau moves from paper to canvas and from ink and colored pencil to acrylic paint, she begins to fill in shapes creating denser compositions where the linear elements originate from a central core.
Rousseau’s lines are both gestural and used to outline geometric forms as in Perspective Collective and Spiral Quartet. Her work has much in common with the timeless quality of ancient Chinese and Japanese calligraphy, at the same time as it is firmly rooted in contemporary art practice as comparisons to works by conceptual artists Sol LeWitt or Robert Mangold are apt as are connections to the works of Julie Mehretu.
A.M. Rousseau received her undergraduate degree from the Massachusetts College of Art and a Master’s Degree in Fine Art from Pratt Institute, Brooklyn, NY. She is the recipient of a National Endowment in the Arts Fellowship, The Djerassi Foundation Affymax Fellowship, the Rockefeller Foundation’s Bellagio Artist Residency, Yaddo Artist residency, the Virginia Center for the Arts residency, the Manhattan Borough President’s Award for Excellence and Service in the Arts, and the Harc Foundation Award. She has been exhibiting since 1990 including most recently exhibitions at the Upland Museum of Art (2017), the Ruth Bachofner Gallery, Santa Monica, CA (2016), CMay Gallery, Los Angeles and Korea (2015).
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 firstname.lastname@example.org
or email the SoCalMFA team at email@example.com
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.
Diane Williams | INcongruence A solo show exhibition at Gallery 825
825 North La Cienega Blvd. Los Angeles, CA 90069
March 17 – April 20, 2018
Opening reception: March 17, 6pm-9pm
Gallery 825 in Los Angeles, California is pleased to present INcongruence, a solo show exhibition by Diane Williams.
Diane Williams is a Los Angeles based artist whose work includes several disciplines to approach the subject of xenophobia and gender bias. In her work, Williams seeks to find a common ground between the art she makes and the community at large. The project aims to reflect the immigrant communities as well as the whole nation, illustrating the idea of an extended community while challenging assumptions and norms.
INcongruence involves a participatory art piece and an installation that will confront viewers, turning them into active participants. The installation consists of 8 large modules made out of wire, recycled and manipulated fiber such as: yarn, thread, fabric, and shredded paintings, interwoven together and creating an immersive structure that fills Gallery 825’s largest front space. These materials have personal history, discarded or purchased from the artist’s neighborhood Thrift Shop in Glassell Park and the Fabric District in Downtown Los Angeles called Santee Alley, frequented by many lower and middle income immigrant families. Williams intertwined these elements into modular weavings, reminiscent of protest signs and roadside memorials that will operate as obstructions, confinement and disruptions. The polychromatic modules are an amalgamation of diverse textures and components. A reminder that America is clearly divided as a nation but we have more in common than we are often led to believe. Diversity is what makes this country great.
About Diane Williams
Diane Williams is a multidisciplinary artist living and working in Los Angeles, CA. She earned her BFA degree from California State University, Long Beach in 2013. Her work has been featured in select publications and exhibited in solo shows including Beautiful Creatures at Cerritos College Gallery (2018) and several group exhibitions: With Liberty and Justice for Some at Walter Maciel, Culver City, Personal Narrative at the Annenberg Beach House Gallery, Santa Monica (2017), WE: Visual Reflections of the American Experiment, Azusa Pacific University, Azusa. Williams has works in both private and public collections: National Immigration Law Center, Los Angeles and Washington DC headquarters (2016) and Azusa Pacific University (2017). She’s currently working on a solo show in March of 2018 at Gallery 825 in Los Angeles and a residency at Museum of Art and History – MOAH, Lancaster, CA scheduled for late 2019. http://www.dianewilliamsartist.com
About Gallery 825
Gallery 825 is the exhibition arm of the Los Angeles Art Association. Purchased in 1958, the gallery, which is located in the heart of Los Angeles at 825 North La Cienega Boulevard, provides LAAA artists with a professional venue in which to show their work.
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.
(McAllen, Texas) – Los Angeles artist Cynthia Minet is pleased to present Migrations, a one-person exhibition at The International Museum of Art and Science (IMAS) in McAllen, Texas, from April 14th to September 2nd, 2018.
Migrations takes borderland regions of the Rio Grande Valley as its point of departure and specifically uses the Roseate Spoonbill, a large bird native to the Southeast coastal region as an artistic surrogate for human experiences. Minet is well known for the creation of large-scale sculptures of animals constructed from repurposed plastics—detergent bottles, water containers, found toys, etc. that are then illuminated from within by glowing LED lights. She creates magnificent aesthetic objects that metaphorically call attention to our dependency on electricity and petrochemicals. Her conceptually and politically astute artworks draw the audience in, and then prompt them to thoughtfully consider and question contemporary society and lifestyle.
In Migrations, Minet will exhibit five suspended sculptures and one floor piece in addition to select wall-mounted drawings. Like most of her installations, this work is site-responsive, and uses recycled plastic debris from Los Angeles in addition to found materials gathered from the borderlands region of the Rio Grande Valley. The center piece of the installation is a graceful representation of the Roseate Spoonbill in various stages of flight. These sculptural birds are accompanied by light sequencing and motion activated sound that consists of wing beats, running water, bird calls and footsteps through grass that create a sense of mystery and movement in the darkened space. In addition, embedded into these sculptures are artifacts dropped by migrants who have crossed the border fence or the Rio Grande River into Texas. Minet’s visually accessible, meaningful and richly layered works call attention to the fact that plastic will erode but never disappear, that habitats and species will be lost to climate change and pollution and never return, and that people will risk everything to escape intolerable situations only to be denied entry into a new land.
Cynthia Minet’s artworks have been exhibited both in the USA and internationally. Her recent solo exhibitions include: Avian, Vita Art Center at the Bell Arts Factory, Ventura (2016); Beast of Burden, USC Fisher Museum of Art, University of Southern California (2015); Packing Caravan, the Los Angeles International Airport, (2013), Unsustainable Creatures, UC Riverside’s Culver Center for the Arts (2012), as well as installations at the Anchorage Museum, AK (2014), the Huntington Beach Art Center, the Los Angeles Museum of Natural History, and at GATE Projects, Glendale. International group exhibitions include museum and gallery shows since 2000. Minet is professor of studio art at Moorpark College, Moorpark, CA.
By utilizing the materials and visual language of street signs, Los Angeles-based artist Scott Froschauer is able to harness the power of authority while playing with viewers understanding and perception of public space and the role of art in it. By replacing the traditional controlling language on public street signs with positive life-affirming statements, The Word on The Street seeks to provide something that is missing from our hum-drum daily visual diet.
Scattered throughout and sponsored by the city of Glendale, California, Froschauer has placed 20 different custom street signs all over, hoping to engage and inspire city visitors and residents to see the world just a little bit brighter. The signs range in message and tone, but maintain the standard directional sign styles and shapes. Touching on positivity, curiosity and absurdity, Froschauer’s signs are evocative, supportive and whimsical, inspiring a smirk or smile to all those who view them.
Juxtaposing the expectations of passersby, Froschauer is particularly fascinated with the role of the public space—hoping to combat the common thought that public space is meant to host signage and messaging to control and conform people in order to keep things copasetic and peaceful among the masses. Froschauer has utilized this expectation in order to produce a positive and shocking response from his viewers. Applying the power of street art to the concept of public signage, he has found an untapped area of captivation in contemporary art where the street art is not a visually rebellious statement, illegally operating and going against the system. Instead, Froschauer employs a contextual rebellion from the mundane messaging but still utilizes the government-approved signage style in order to gain proper attention from viewers as well as utilize the positive shock value of his opposing messages.
These signs are so similar to the traditional street signs that many people pass right by them without even realizing the signs say something different than they expected. This aha moment is a mandatory aspect of Froschauer’s work, demanding the viewers’ participation to complete this experiential artwork.
Aiming to give viewers a positive yet momentary emotional lift, Froschauer hopes that people who see his signs start to expect extraordinary things in ordinary places more often, evoking greater imagination and positivity by the masses. His messaging in The Words on The Street are simple yet thought provoking, with self-love and compassion at the core of his sign statements. With just 20 new additions to the city’s public space, Glendale now offers all visitors and residents a boost of positive energy and personal empowerment.
About the artist:
Scott Froschauer is a experimental artist and art fabricator in Los Angeles. His background consists of a structured education in Engineering, Photography, Computer Programming and Business. He earned a B.A. in Theoretical Linguistics from Syracuse University and has broad practical experience in Fabrication, Design, Non-ordinary Reality, Experiential Narrative, Venture Capital, Counterfeiting and Breathing. His background in the motion picture industry as a Key Grip has given him the skills to rapidly deploy large engineering projects for television shows, feature films, commercials and music videos. His fine artwork covers a broad range of subjects and materials from ephemeral street art and experiential narrative events to gunpowder illustration and alternative technique photography to practical sculpture and many large scale pieces for the Burning Man Festival, including the fabrication of The Church Trap, a large scale sculpture which was featured in numerous publications. Scott also fabricated RuckusRoots’ 2015 Wild Art sculpture, for the LA Zoo.