Gardar Eide Einarsson "Power Under Construction" at Honor Fraser Gallery, Culver City, California

Honor Fraser is pleased to present an exhibition of new work by Gardar Eide Einarsson. This exhibition, entitled Power Under Construction will mark Einarsson’s second with the gallery.

Einarsson’s approach to art making continues with his inherent conceptual complexities while applying direct appropriation and minimalism that in the end often leave the viewer disarmed. Einarsson typically uses a restrained palette of black and white, which offers a more serial or even deadpan reaction to his oftentimes overtly political, anti-establishment and general sub-contexts of opposition. Like Kasimir Malevich, the suprematist painter known for his socially charged works, Einarsson’s work seems starkly minimalist yet there are undercurrents of a strong voice of opposition. Einarsson’s aesthetically restrained compositions do borrow from a constant series of appropriated media, news headlines, explicit messages, underground subcultures and the criminal world. These subject matters offer a sort of punk viewpoint and suggest insurrection of establishment via lack of sentiment. Looking at advertising and propagandistic technique throughout mass media the artist reappropriates text and word play and recontexualizes meaning and public beliefs and so forms an ambivalent window into skepticism of authority.

Einarsson’s previous exhibition at Honor Fraser, All My Friends Are Dead, included inkjet prints on plywood of reproductions of nine images from a 1960s police instruction manual. The calm and neutral posture of the policeman demonstrating ways of handling a baton contrasts the violence of the implied situation provoking the use of the baton. Other themes Einarsson has explored include a series of works based on images of prison tattoos, a series of ten highly formal paintings each titled after a chapter from Robert Whiting’s book Tokyo Underworld (based on Nick Zapetti’s life in Tokyo as a mafia boss). In Power Under Construction, Einsarsson's continued themes offer a similar look into his skeptic’s view and all around opposition to the social status quo as he includes a large scale installation that is a recreation, and recontextualization as formalist sculpture, of the makeshift street barricades found in Thailand. A number of found objects, such as car tires are piled up to form a blockade fortified by casts of sharpened bamboo sticks. This work references the installations and happenings of sixties sculpture – most notably Allan Kaprow’s celebrated 1961 happeningYard.

Born in Norway, Gardar Eide Einarsson lives and works in New York. His work has been exhibited in solo shows in Oslo, Berlin, Köln, Paris and Copenhagen as well as the United States, and in the 2008 Whitney Biennial. More recently he has exhibited at the Modern Art Museum of Fort Worth in Texas, the Reykjavik Art Museum in Iceland, and the Astrup Fearnley Museum of Modern Art in Norway. Einarsson’s work is included in the Rubell Family Collection, the Museum of Contemporary Art, Los Angeles collection, the Jumex Collection, the Norwegian National Museum of Art collection, and the Museum Moderne Kunst Frankfurt. In Summer 2011 he will curate a group exhibition of punk-themed work at Honor Fraser.

GALLERY HOURS
TUESDAY — SATURDAY
10AM — 6PM

2622 S. LA CIENEGA BLVD.
LOS ANGELES, CALIFORNIA 90034

T: 310.837.0191
F: 310.838.0191

www.honorfraser.com

Will Cotton "New Paintings" at Michael Kohn Gallery

Will Cotton’s work has often featured landscapes composed of sweets, rich chocolate, and ambrosial clouds. In this exhibition, Cotton will present paintings in which he incorporates the figure into his landscapes, as well as several portrait format paintings. In the past, the figures that inhabited Cotton’s landscapes were primarily nudes. For his new work Cotton has designed items ofclothing specifically for the fictional space that the characters inhabit. He created a dress based on a foil cupcake wrapper, as well as one actually composed of cupcake papers, a skirt made of cotton candy with a rock candy bodice, cake hats, and candy tiaras; all worn by the models as they posed for the paintings. This body of work merges portraiture, landscape painting, decadent fashion, and Cotton’s interest in the role of bodily decoration as a signifier of status and taste. While in the past, Cotton has seen his figures as representative of a generalized archetype so as to place greater emphasis on their utopian surroundings, this new body of work begins to explore more specific characters, with an interest in emotion and interior narrative. This coincided with the painting of recognizable pop figure, Katy Perry, who brought her own character and personality to the paintings (several of which will be included in this exhibition).


Cotton currently lives and works in New York City. His work has been included in exhibitions throughout the United States and Europe, including the San Francisco Museum of Art, Kunsthalle Bielefeld, Germany and Musée Marmottan Monet, Paris. His work is in the collection of the Seattle Art Museum, Washington and the Columbus Museum of Art, Ohio, as well as many prominent private collections. In 2010, Will Cotton’s painting of Katy Perry, which features the young singer reclining amid cotton candy clouds, was used as the cover art for her album Teenage Dream. He was also artistic director for Katy Perry’s music video, California Gurls.

Michael Kohn Gallery 8071 Beverly Boulevard
Los Angeles, CA 90048-4517
(323) 658-8088
Open Weekdays 8am-5pm

http://www.kohngallery.com/

Patrick Nickell and April Street at Rosamund Felson Gallery, Santa Monica, California

Patrick Nickell

Patrick Nickell returns to Rosamund Felsen Gallery for an exhibition of new sculptural work, The Lending Library Lends a Hand. In his last exhibition Nickell created large homespun abstract forms that jutted out into space for a rather humorous interaction with shape and line. This new body of work involves a more careful, more intuitive consideration of mass and color, focusing on the gestural and corporeal aspects of form and interactivity. If the previous works conjured historical elements of drawing or even cartooning, this new work concentrates on bodily interfacing and evocative coloring. Nickell has formulated pieces that weave in, on, over and around themselves, and has overlaid them with refined, intensely colored surfaces, often confounding the viewer with a displacement of mass. The viewer is struck by the moments when these initially odd, rangy shapes begin to look like bodies, twisting and dancing before us, and simultaneously appear to be heavily grounded, weighty masses, anchored to their plinths. While maintaining Nickell's customary playfulness, these works, not shying from abstraction, nonetheless point to traditional – often recognizable – forms, and to a practice of sculpture grounded in the idea of both looking back and moving forward. Memory, nostalgia and familiarity are met with the unknown, the unpredictable and the unrecognizable. 

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April Street

With her own physical movements realized and indexed in paint, April Street makes works that evoke the surrealist automatism of a dreamscape. At the same time, they represent a spontaneous outpouring of social, historical and personal constructions of romanticized subjects and subject matter. Using canvases often imprinted with pattern and natural imagery, and utilizing such varied applications and techniques as paint spills, illusionistic detailing, prismatic color and floral motifs, Street has largely relinquished the paintbrush. Instead, she utilizes her own body as well as worn bed sheets to move paint around the canvas. Displaying a skillful lightness of touch, Who threw that sunset at Me culminates as a series of beautiful, highly mysterious and highly allusive paintings, rich in layered meaning.

Rosamund Felsen Gallery

Bergamont Station

2525 Michigan Avenue, B4
Santa Monica, CA 90404
(310) 828-8488

Open Tue-Sat 10am-5:30pm

Staatliche Museen zu Berlin: Video Tour of the Old Masters Collections

Old Master Paintings

The Old Master Paintings possesses one of the world's finest collections of European art from the 13th to 18th century. After the collection was founded in 1830, it was systematically built up and perfected. The exhibition includes masterpieces by artists from every age of art history such as van Eyck, Bruegel, Dürer, Raphael, Tizian, Caravaggio, Rubens, Vermeer and Rembrandt.

The collection

This newly built museum is situated at the Kulturforum Potsdamer Platz. It has about 7,000 square metres of exhibition space. A complete tour of the 72 rooms covers almost two kilometres. Two of the major sections are formed by Italian painting from the 13th to 16th century and Netherlandish painting of the 15th and 16th century.

Old German painting of the Late Gothic and Renaissance eras is represented by such great masters as Konrad Witz, Albrecht Dürer, Baldung Grien, Cranach and Holbein.

The octagonal Rembrandt room enjoys a key position at the heart of the museum. The sixteen works by this artist form one of the largest and highest quality collections of Rembrandt paintings. They are flanked by additional gems of Dutch and Flemish painting of the 17th century. Portraits, genre paintings, interiors, landscapes and still-lifes illustrate certain artists' preferences for particular types of themes.

Italian, French, German and English painting of the 18th century is presented in six rooms. This splendid collection of paintings includes works by Canaletto, Watteau, Pesne and Gainsborough. The main gallery contains one thousand masterpieces. These paintings are complemented by four hundred works in a study gallery on the lower floor.
Visitors also have access to a digital gallery with computerized information in German, English and French. Audio-tours are also available in German and English.

Watercolor at the Tate Britain

Group Show "Seven Minutes in Heaven" at Control Room, Los Angeles, California

Statement


“Heaven is a place where nothing ever happens.” What is the role of photography in the space of projected fantasy? A frame of reference for a thing that may or may not have ever existed, a surface that doubles as both well and black hole. The photograph becomes a location of meaning, both spatially and temporally. We rely more and more heavily upon the image to provide a picture of reality that we can depend on, all the while that location to which we have grounded ourselves becomes more and more disparate, two-faced, and untrustworthy. If we lose the ability to image ourselves, we must ask, where physically are we left to exist? And how then can we keep track of time? What can we imagine as the place we long to be? Or will we accept the fate of the image and surrender to formless, timeless, endless fluidity, without the comfort of a moment, a site, a point of isolation?"

Control Room is an artist run space in Downtown Los Angeles.

2006 East 7th Street

Los Angeles, CA 

controlroom2010@gmail.com

(818) 720-2713

OPEN HOURS:

Sundays 11am - 5pm

Gallery Announcement

Ryan Perez
"Escalator to Nowhere"
MDF, Industrial Stripping
2011

Massod Kamandy
"Untitled"
video
2011

Chris Coy
"Marker 1 to 10" (detail)
tempura on board
2011

Andrew Cameron
"View of Sea (cloudy skies) c. 1856"
pencil on paper
2011

Valerie Green
"untitled cloud"
sintra
2011

Ryan Perez
"Two Tickets to Paradise"
Archival Photograph
2011

Andrew Cameron
"Bad Scan"
pencil on paper
2011

Left to Right
Chris Coy
"Marker 1 to 10" (installation view)
tempura on board
2011

Andrew Cameron
"Bad Scan"
pencil on paper
2011

Massod Kamandy
"Untitled"
video
2011

Left to RightMassod Kamandy
"Untitled"
video
2011

Chris Coy
"Marker 1 to 10" (installation view)
tempura on board
2011

Opening Party
2/11/11

Chris Coy
"Marker 1 to 10" (installation view)
tempura on board
2011

Karen Adelman
"Aspirations"
performed on 2/11/11

Karen Adelman
"Aspirations" (detail)
performed on 2/11/11

• Fwd: re: britney‏

From:	Control Room (controlroom2010@gmail.com)
Sent:	Tue 2/15/11 10:20 AM
To:	controlroom2010@gmail.com
Bcc:

Wed, at 10:16 PMchris: is this a special picture? 

did you take it?

I’m confused.

thanks

chris

Wed, at 11:46 PM

leslie: its a picture taken at the mall .. and its actually her sitting in santa’s lap

Thu, at 7:53 AM

chris: did you take the photo?

Thu, at 8:38 AM

leslie: yes ...

Thu, at 10:18 AM

chris: weird

Thu, at 10:23 AM

leslie: How’s it wierd

Thu, at 10:34 AM

leslie: Are u even interested in buying the picture

Because this is not a fake ad about this is real

Thu, at 11:30 AM

chris: what type of camera did you take it on

what year

how long ago

is it film or digital image

are you selling the print or the negative

Thu, at 11:44 AM

leslie: Its from a digital camera and it is from this year and I am selling the actualpicture

Thu, at 11:53 AM

chris: how did you determine its value

Thu, at 12:18 PM

leslie: Its a one of a kind picture

*************************

Chris Coy

"Subject: britney" (detail)

email

2011

Beatriz Milhazes at Fondation Beyeler

As a sort of preview to the upcoming exhibition in the museum, Fondation Beyeler in Riehen / Switzerland, presented a rather unusual floor work by the Brazilian artist Beatriz Milhazes at Art Basel Miami Beach 2010. Now the museum is showcasing four new, monumental paintings by the artist, as well as a selection of collages, a mobile, and the aforementioned floor work.

In this segment, we have a look at the exhibition and meet up with the curator of the show, Michiko Kono, who talks about the artist, her work, the concept of the exhibition and the artworks on display.

Beatriz Milhazes has created the four new paintings expressly for the show at Fondation Beyeler. As she already pointed out in the interview VernissageTVdid with the artist in Miami Beach, the paintings are devoted to the subject of the four seasons. It’s the first time Beatriz Milhazes determined the subject of the works in advance of the painting process.

The exhibition project is curated by Michiko Kono, assistant curator at the Fondation Beyeler. The show runs until April 25, 2011. Press release and photo gallery are available after the jump.

Beatriz Milhazes at Fondation Beyeler. Walkthrough and interview with Michiko Kono. Riehen / Switzerland, February 2, 2011.

George Stoll at Michael Maloney Fine Art

GEORGE STOLL:
Selected Sculpture + Paintings
JANUARY 8 – FEBRUARY 12, 2011

"George Stoll is interested in the subject that is hiding in plain sight and what happens when representation becomes abstracted. In this work he investigates the poetics of American consumer culture and Catholic iconography, and by so doing creates beautiful sculptures that have the immediacy of Pop Art, the spare elegance of Minimalism, the appearance of a monochrome, and the telling ability to transcend their domestic function.

He fabricates by hand that which is found in everyday life: toilet paper, party streamers, sponges, American flags, Thanksgiving platters, Christmas Lights and most notably, Tupperware. In this exhibition at Maloney Fine Art, George will present his classic Tupperware configurations in elliptical forms, shelf sculptures and sponge paintings made of burned balsa wood."

George Stoll lives and works in Los Angeles.
A recipient of the Rome Prize, his work has been exhibited extensively and he has had numerous solo exhibitions, including Baldwin Gallery, Aspen; Angles, Los Angeles; Grant Selwyn Fine Art, New York; Gallery Seomi, Seoul; Windows Gallery, Brussels; Rose Art Museum, Brandeis University, Boston; and The Contemporary Art Center, Cincinnati. Stoll’s works have appeared in group exhibitions internationally, including Cheim & Read, New York;American Academy in Rome, Biagiotti Progetto Arte, Florence; Galerie Thaddaeus Ropac,Salzburg; San Francisco Museum of Modern Art; and The Drawing Center, New York. Public collections include the San Diego Museum of Contemporary Art; Norton Family Collection; The Robert J. Shiffler Collection, the Williams - Sonoma Collection and the Museum ofContemporary Art Los Angeles.

MICHAEL MALONEY FINE ART
2680 SOUTH LA CIENEGA BLVD. 

LOS ANGELES CA 90034

(310) 570-6420

michael@maloneyfineart.com