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.
In Paradisum Cantavit – (Google Latin for “The Paradise Crew”) – is a 53’ wide mural created by JT Burke that will be unveiled at Fabrik Projects Gallery on Saturday, September 8, opening day of the Los Angeles fall art season. This outdoor mural is composed of Burke’s original photos of vintage costume jewelry and brass figurines, assembled together digitally to create an eye-popping panorama of cheeky characters that are the inhabitants of his visionary world.
This highly detailed, large-scale image is an ambitious continuation of Burke’s series of images that envision Paradise as a beautiful myth and a concoction of human desire. His use of jewelry and ornamental objects as the building blocks of his joyous utopia ties together tangible objects from the human world with a vision of mankind’s ultimate beauty.
JT Burke is now represented by Fabrik Projects Gallery. In Paradisum Cantavit will remain on view through 2019.
About JT Burke
Jeffrey Thomas Burke received a BA from the University of California, Los Angeles in 1981, and an (hon)MS from Brooks Institute of Photography in 1999. His work has been exhibited in New York City, Bristol UK, Basel Switzerland, Barcelona Spain, Naples Italy and throughout Southern California. A former advertising photographer and commercial director, Burke was an early pioneer of digital capture and manipulation.
JT Burke lives and works in South Pasadena, CA.
About Fabrik Projects Gallery
Fabrik champions new ideas in contemporary art by providing a platform to nurture emerging and mid-career artists, enabling them to take risks.
Fabrik Projects Gallery
2636 S. La Cienega Blvd., Los Angeles, CA 90034
Tues. – Fri. 11am-5pm
(Woodland Hills, California) – Please join us Thursday September 13th 6-8pm at the Pierce College Art Gallery for the reception of Erika Lizée’s Solo Exhibition. Lizée is a painter who creates illusion-based installations. Mysterious, biomorphic forms appear to exist within the walls of the gallery, while tendril-like elements expand and emerge into the physical space of the viewer. She imagines gallery walls as symbolic thresholds between different realms of existence, between life and death. The illusionistic quality of these installations also speaks to how perceptions and beliefs create reality.
The use of illusion in her work is important, as it gives rise to simultaneous feelings of wonder and uncertainty in viewers. For Lizée, it serves as a metaphor for how we can feel such awe for the beauty, complexity and interconnectedness of the world we live in, while also harboring intense feelings of doubt and anxiety surrounding the big questions of where we come from, what the purpose of our lives is and what happens when we eventually die.
Lizée has always been drawn to Plato’s Allegory of the Cave, which is a tale that considers how our perceptions of the world around us create what we believe to be real. When our perceptions change through experience, so do our concepts of what is real. In her installations, the use of illusionistic and sculptural paintings work in conjunction with actual light and shadow to create a transformative experience for viewers, as their perceptions shift with a greater understanding of the relationship between artistic materials and exhibition space.
The installations serve as a parallel for the journey of our personal and shared life experiences. Individually, each piece has its own inspirations, pulling from sacred geometry, nature and symbols of the feminine. Overall, these works speak to the deep-rooted questions we have always faced in relation to the existence of the universe and our role in it.
Erika Lizée was born in Chicago, Illinois, yet was raised in a tiny town in Northern Wisconsin. Much of her childhood was spent exploring the woods, swimming the lakes and climbing the snowdrifts of this serene part of the country. Her upbringing fostered a strong connection to the natural world, which remains an important aspect of Lizée’s life and artwork.
Ms. Lizée is an artist that creates site-specific, illusion-based installations with acrylic paint. Most recently, she has built installations within the Vita Art Center, Gallery 825, Launch LA, ArtShare LA, and the International Terminal at the Los Angeles International Airport (LAX). Her work has been featured in Juxtapoz, Beautiful/Decay, HiFructose, The Huffington Post and Beautiful Bizarre magazines.
Erika Lizée earned a BFA in Painting from UNC Asheville, and her MFA in Painting from CSU Northridge. She is a Professor of Art at Moorpark College, as well as the Director of the Moorpark College Art Gallery. She lives and works in the greater Los Angeles area.
“ECHO ENIGMA” – SCOTT FROSCHAUER’S NEW SOLO EXHIBITION CONFRONTS DIVISIVENESS IN AMERICA
AN ARTIST TALK SUNDAY, MAY 20TH, 3-5 P.M.
ALTADENA OPEN STUDIOS TOUR, JUNE 3RD 11-5 P.M.
CLOSING RECEPTION ON JUNE 10TH, 2-5 P.M.
Ark Gallery and Studios is pleased to present a solo exhibit with Los Angeles multimedia artist Scott Froschauer. The artist explores themes of social connectivity, community and complexity. Froschauer gained notoriety with his “The Word on The Street” series of subversively positive street signs.
In Froschauer’s latest exhibit at ARK, the artist reflects on America’s increasingly polarized climate, etching distressed mirrors with portraits of various historical American figures. The artist injects elements that complicate otherwise one-dimensional narratives. He states that, “Deciding how to categorize them becomes more of a statement about the viewer, who is reflected in the distressed surface of each piece.” Hero and villain become blurred in the complex reality of the subjects humanity.
That complexity becomes the underlying fabric of the shows centerpiece. The exhibit’s focal point is a model for a large-scale artwork entitled United Divider that proposes a size of 15 feet tall by 20 feet long. Reminiscent of Richard Serra’s Tilted Arc that infamously overtook Federal Plaza in New York in the 1980’s, the 120-foot-long curved steel panel divided an otherwise open public space and was eventually taken down due to public outcry. Froschauer proposes a monument of polished stainless steel, waving, and etched with the likeness of the American flag. When viewed up close, the flag’s stars and stripes consist of lines of text bearing the names of historical Americans, human beings who we might find ourselves simplifying into heroes or villains, but which are actually more complex. Again, the polished surface reminds the viewer that their impression of these individuals is more of a reflection of their own preconceptions. Froschauer comments, “The epic scale of this piece gives it a stance as a wall, separating those who might stand on either side of it. The reflective quality of the piece denotes that this idea of America is a reflection of all who observe it. The symbol of the flag brings us all together and tears us all apart. It is the United Divider.”
Several related events will follow the April 29th opening from 3-6 p.m. including a May 20th artist talk from 3-5 p.m., an Altadena Open Studios Tour day on 3rd from 11-5 p.m., and a closing reception on June 10th from 2-5 p.m.
Ark Gallery and Studios is located at 2599 Fair Oaks Ave., Altadena, CA 91001
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.
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.
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.