Showing posts from April, 2013

Julian Opie on Landscape

‘I tried to see how it would be possible to draw a landscape that was not a landscape, but a period of landscape,’ Opie tells TateShots, as he describes the process of creating his large-scale wall painting: There are hills in the distance (c) 1996.

Opie’s work is on show in Looking at the View, a thematic display at Tate Britain that finds parallels in the way artists have framed our vision of the landscape over the last 300 years.

Marilyn Minter at Regen Projects, Hollywood, California

Regen Projects
6750 Santa Monica Boulevard
Los Angeles, CA 90038
Tel. (310) 276-5424
Fax. (310) 276-7430

April 6 – May 11, 2013
Gallery Hours: Tuesday–Saturday, 10:00 am – 6:00 pm
Opening Reception: Saturday, April 6, 6:00 – 8:00 pm

Regen Projects is pleased to announce an exhibition of works by New York artist, Marilyn Minter. For her second show at the gallery, Minter will debut five monumental paintings. Accompanying this body of work will be Minter's earliest black and white photographic series. Taken in 1969, these photos of her drug-addicted mother set the stage for Minter's career-long exploration of the pathology of glamour.

Three years in the making, these new large-scale paintings deepen Minter's investigation of how we communicate with the illusion of glamour via advertising in public spaces. Cracked glass, swaths of vibrant graffiti, and dripping water confront the viewer and obscure Minter's archetypal images…

Nathan Danilowicz "Shadowkings" at Raid Projects, Los Angeles, California



Opening reception: Saturday, February 16th, 7-10 pm

Nathan Danilowicz’s practice inquires at the intersection of art and mysticism. It is an exploration of high and low culture, the occult, and alternate realities– how mortality compliments growth and is made tactile in works that pull references from minimalism, sci-fi shamanism, and ritual. Combining highly crafted geometry with raw gestural accentuation, Danilowicz creates works that are an alchemical marriage of intuitive exploration and honed precision. Insistently contemporary, Danilowicz’s work nevertheless recalls the geometric abstraction of late modernism, and reflects the fractured psychologies that have arisen in the midst of our dystopian techno-isolation.

The core of Danilowicz’s practice begins with small ink drawings that he refers to as Quaternities. For Danilowicz, these daily drawings act like mandalas. In this instance, the act of creation is a means to harness both menta…