@ Copro Gallery May 25 - June 15

Copro Gallery presents 4 seperate mini-solo exhibitions by artists. Mark Elliott, John Cebollero, Ken Keirns and Matthew Grabelsky. Web-Preview available on gallery web-site.

at FIG May 22 - June 22.

at Schomburg Gallery until June 15, 2013

Also Showing: Joe Pinkelman and Suki Kuss, May 21 - June 15, Opening Reception | Saturday May 25, 5 - 8pm, Artist Talk | Saturday June 8, 3-4pm

Exhibition runs May 17 to June 18, 2013

at Ruth Bachofner Gallery
through June 1, 2013

Natasa Prosenc Stearns
"Backfill #3"
Photographic Print
51" x 27"

at Ruth Bachofner Gallery
until June 1, 2013

"Blue Spell" 2013
Mixed media acrylic on canvas on panel
72" x 192"

at Suzanne Felsen

Suzanne Felsen designs begin with the cut, color and quality of the gemstones. She carefully selects each gemstone used in the collection by hand. Unusual and rare gemstones are often found in the collection along with unique cuts created by the designer. Combinations of riotous colors are framed by her streamlined settings.
Photo: Peridot and Tanzanite 18k white gold ring.

in•ter•course paintings and sculptures

May 4 - June 8, 2013

ROBERT BERMAN GALLERY

MAY 4 – JUNE 8, 2013
Bergamot Station Arts Center, Santa Monica

Press Preview Friday May 3rd at 12pm
RECEPTION: Saturday May 4, 2013 from 6-9pm

"in•ter•course" is a collection of Herb Alpert's newest paintings and sculptures on view at the ROBERT BERMAN GALLERY in the Bergamot Station Arts Center from May 4 – June 8, 2013. A video and catalogue will accompany the exhibit.

In addition to his musical accomplishments, Herb Alpert has spent more than half his life as a respected abstract expressionist painter and sculptor, whose work has been exhibited all over the world, from New York to Berlin. Since he began painting in 1969, Alpert has experimented with a number of different styles and materials, perhaps none more unusual than his current medium of choice: organic coffee. Alpert's sculptures, particularly his towering Black Totems series, continue to draw interest with their freedom of form and massive size, with some pieces reaching 18 feet in height. The totems were inspired by indigenous sculptural forms from the Pacific Northwest. What begin as hand-sized forms are scaled up and cast as ten to 18 foot high monoliths. Acknowledging totemic explorations by fellow sculptors Henry Moore, Augusts Rodin, Constantin Brancusi and others, Alpert's soaring forms appear as frozen smoke, or jazz given physical form.

Just as the origins of Herb Alpert's music with the Tijuana Brass can be traced back to a Tijuana bullfight, his start as a painter likewise began with a trip south of the border. Though Alpert's work as an abstract expressionist painter has been inspired by a number of different sources over the years, he cites his single greatest influence as artist Rufino Tamayo, whose work first sparked his interest in painting in 1963.
Alpert’s paintings and sculptures have been exhibited at numerous galleries and museums: including the Tennessee State Museum, Pasadena Museum of California Art, Art Cologne, Art Fair Basel, Molly Barnes Gallery, Santa Monica and Ace Gallery Beverly Hills.

Herb Alpert’s philosophy as an artist has generally been to create from a purely internal place; “the feel,” as he calls it. External considerations, such as social or political commentary, rarely factor into the work. “For art to appear,” Alpert likes to say, “the artist must disappear.”
Creativity is Alpert's staff of life, his daily bread. Whether its music, or painting, or sculpture, he launches in headfirst, like a soloist coming out of the chorus, rolling to a rhythm he feels inside, searching for a sound that gets at that feeling, that mysterious thing. "When I paint or sculpt," he says, "I don't have anything in mind. I don't have a goal in mind other than form. I'm looking for that form that touches me and when I find it I stop."

www.herbalpert.com

For interviews and more information, contact:
Caroline Graham, C4 Global Communications
caroline@c4global.com | 310-899-2727 | www.c4global.com

@ Patrick Painter Inc., B2

Sonny Assu
Longing #2, 2011
Found Cedar and Brass
12 x 14 x 16 in

May 4th - June 1, 2013

From Mindy Alper’s deep oceans of emotional & psychological content, flow stunningly personal & hauntingly realistic sculptures. Alper’s works do much of the talking for the many things she cannot or does not say through words. Coexisting in the remarkably intimate sculptures, whose faces emote heavy or tranquil feelings, are often subtle flickers of triumphant colors, or delicate movements of flight. Though darkness can be said to be the source from which her works begin, beauty is where her work ultimately delivers us.

In the West Gallery: Marcia Roberts

If Alpers’ content comes from within, Marcia Roberts’ subject matter comes from without. Roberts continues her investigation of light and more specifically, the various combinations of color and how it affects the way light is perceived under different conditions. The paintings contain carefully conjured abstract color planes which house a subtle light source at times within them and at times as the planes themselves. Roberts’ softly seductive paintings, whisper the poems of the breaking dawn or the soft light gazing through the fog.

Photo Credit: Grant Mudford

@ ADC & BUILDING BRIDGES International

Born in Ann Arbor, MI, before pursuing photography, she received BA in Journalism from Michigan State University. Later, she earned an Associate Degree in photography from Harrington College of Design in Chicago and a Master of Fine Arts in photography from Brooks Institute of Photography in Santa Barbara. Her current work addresses issues dealing with trauma, dissociation, and sexual violence. In her installations De Muro expresses a fragmented state of mind - which often results from sexual trauma - and generates in a physical form the compartmentalized alienation of the viewer's own body and mind. In her installations a kinetic movement and energy is achieved by suspended prints which brings a sense of life to the work, giving breath not only to the pieces themselves but also to what they represent. Addressing the emotional consequences of rape, as opposed to the act itself, gives viewers a unique and genuine insight commonly overlooked when examining sexual violence.

April 20, 2013 through June 2, 2013

April 20, 2013 - June 2, 2013

At Craig Krull Gallery
April 20 - May 25, 2013

Image:
Alexis Smith
Adrift, 2013
mixed media
26 x 45"

April 13th - May 18th, 2013

Eruption, 2013
Graphite on paper
17-7/16 x 21 ”
25-1/2 x 28-1/2 ” - fr.

April 13- May 25, 2013

Shoshana Wayne Gallery is pleased to present a solo exhibition of Chie Fueki’s new paintings. This is the artist’s fourth show with the gallery. Tom McGrath writes the following abridged text specifically on this particular body of work.

A cursory glance at Chie Fueki’s new exhibition at Shoshana Wayne reveals an artist known for her glam surfaces, outré fastidious rendering, decalcomaniacal motifs, and pop-folk iconography at her most visually superlative. But don’t let Fueki’s characteristically seductive optics camouflage their true content: a lingering gaze over Fueki’s exhibition as a whole reveals something more peculiar woven throughout the counter-veiling spectacle, a deeper enigma at the heart of what lay “all on the surface”.

A series of paintings on panels of relatively equal dimensions surround the viewer lining the walls around the circumference of the gallery. Each panel bears the likeness of the same woman, wearing the same hat, facing the same direction in a circuit broken only by her symmetrically mirrored image in a couple of calculated irregularities. The subject of Fueki's portraits seems to fix her gaze elsewhere at the very insistence that she is everywhere at once.

Fueki’s work has always dabbled in the elliptical parallelism between high renaissance art, 80‘s scroll screen computer game graphics, art nouveau naturalism, early modern orphism in painting and fashion, Japanese folklore and Shinto animism; the rediscovery of the radical psychedelic tropicalismo of her childhood spent in 70’s Brazil, and the flat fixations of Anime culture. The complex curvature of her figuration seems to combine the lyrical subtlety and baroque trajectory of Bezier curves, with older forms of vector graphics and Euclidian geometries, analogously present in non-albertian non-western representations of space such as the Edo period woodblock prints or Hiroshige.

The surfaces in each painting are layered with painted paper and collaged onto the surfaces, which are painted on again. The flower motif repeated in several works are sometimes hand painted, sometimes silk screen collaged. Fueki’s pattern and decoration is steeped in codes of feminism and analogous reversals of normative identity roles through the optical exchange of figure and ground, origin and motif.
Fueki’s repetition and sequencing places her in a dialogue within a certain pitting of seriality against the narrative sequence of the image. Her repetition plays in the culture of the copy; where the contradiction between the procedural and the intuitive is the narrative foil to the larger questions of image ownership and dissemination; franchise remakes, networks, new manners, friendships and social atomization. More importantly, as a child of third culture experience, (having grown up in Brazil to Japanese parents, relocating to New York in the 90’s), Fueki’s imagery is an issue of both speculative identity and questionable ownership.

Assuming that Fueki’s portrait is an assemblage of different identities and likenesses, how do we as viewers know from whence she came? Certain clues refer back to Fueki’s stylistic synthesis of Tropicalia and super flat aesthetics. The hat of Fueki’s protagonist bears uncanny resemblance to that of a famous Brazilian pop singer, Nara Leão, on the cover of her album “dez anos depois”, and on the cover of the classic Tropicalia record “Bread and Circuses” (where she appears in a photo held by Caetano Veloso). She looks a little like an echo park folkie, a little like Carmen Sandiego. But who is she really?

Each of Fueki’s serially similar canvases seems to contain elements of a structural nature breaking through the dense figure-grounding of pattern- literally, silhouettes of various flora transposed through a dense network of grids and lattices. Fueki’s other botanical schema evoke the textile and wallpaper designs of William Morris. But Fueki is no anti-modern child of nature. As in her previous work, the natural is rendered with such technical precision as to seem “technological” in a way that evokes early 3-d modeling, computer graphics and isometric architectures leaping out of their diagrammatic 2-dimensionality.

Like any work of art operation, we can assume that our understanding of even the most pictorial and decorous image is one of apophasis: what’s at stake is a combination of what elements are visibly present, with those issues rendered conspicuously absent. In other words, Chie Fueki’s paintings, camouflaged in botanical tropicalia and diagrammed between perspectival systems, aren’t about the glancing circuit of her mysterious protagonist, they are about the eye of the beholder.

Chie Fueki was born in Yokohama, Japan and raised in Sao Paulo, Brazil. She received her MFA from Yale University. She currently lives and works in West Chester, PA and Brooklyn, NY. Fueki was included in the Greater New York show at PS.1; and has been featured in a number of publications including the New York Times, Bomb Magazine, The New Yorker, Art Asia Pacific, Art in America, Art News, Time Out New York, and The Village Voice.

For more information please contact marichris@shoshanawayne.com

Martiros Adalian "In Shadows"

THE COME BACK AUCTION

NOVEMBER 2013

We are currently considering consignments. Please send your fine art secondary market submissions to:

info@smauctions.com

March 2 - April 13 at Leslie Sacks Contemporary

Leslie Sacks Contemporary is pleased to announce an exhibition of Marc Quinn’s 2007 suite Portraits of Landscapes. The series features eight color pigment prints, each measuring 39 3/8 x 29 1/2 inches from an edition of 59. The imagery is a highly rendered grouping of fruit and flowers in full bloom, which relates to recurring motifs in Quinn’s work.

The Portraits of Landscapes series references Quinn’s momentous 2000 installation Garden as well as his ensuing Eternal Spring sculptures and flower paintings. Garden, originally installed at the Fondazione Prada, Milan, featured cryogenically frozen plants captured at the peak of their beauty and suspended in their lifecycle. Quinn has stated that he was inspired to create the piece when visiting a flower market, where all types of foliage from around the world can be purchased in a single place. Flowers that would never exist in the same climate or blossom at the same time of year now sit alongside one another; they are a symbol of how “human desire constantly reshapes nature’s limitations” and offer the perfect metaphor for Quinn’s exploration of the natural versus the artificial.

For the print series Portraits of Landscapes, Quinn has re-appropriated imagery from his flower paintings and presented the visuals in a new format. By switching media from painting (large horizontal “landscapes”) to a blown-up portion of a painting (small vertical “portraits”), he plays even further with the ideas of preservation and manipulation. In the work’s new incarnation, Quinn examines in greater detail the exotic, tactile shapes of tropical plants and gleaming, fleshy surfaces of ripe fruit. Swaths of bright, saturated colors—symbols of youth—and the erotic interplay of forms take center stage, pulling the viewer up-close into a rich and lusty garden of paradise.

In many of the pieces, delicate drops of snow can be seen lightly sprinkled over the fruit and flowers. This detail is a nod to the cryogenically frozen Garden installation. The work remarks on the transience of life and speaks to Quinn’s fascination with the inherent human desire to halt time. Contemporary culture’s obsession with preserving youth and beauty, often through unnatural means, contains a certain perverseness that is of interest to the artist. Quinn’s flowers are immortalized at the moment of full bloom, and are seemingly full of warmth and exotic sensuality. Yet the vibrant colors and voluptuous forms are deceptive; they mask the fact that the flowers are frozen and no longer living—are dead, but can’t decay.

Marc Quinn is part of the Young British Artists (YBAs) movement. The group, which includes fellow artists Damien Hirst and Tracy Emin, gained notoriety in the 1990s for creating work with tremendous shock value. Quinn’s work Self was shown as part of “Sensation,” a 1997 exhibition curated by the influential collector Charles Saatchi. Self, an ongoing self-portrait of the artist made from his own frozen blood, elicited worldwide attention. Quinn has continued to explore themes about aging, the passage of time and ideals of beauty throughout his career.

Marc Quinn has exhibited in numerous significant international exhibitions, including at the 50th Venice Biennale in 2003. He has had solo shows at Tate Gallery, London and Tate, Liverpool; Kunstverein, Hannover; Fondazione Prada, Milan; Irish Museum of Modern Art, Dublin; Groninger Museum, Groningen; MACRO, Rome; DHC/ART Fondation pour l’art contemporain, Montréal; and Fondation Beyeler, Basel. His work is included in the Tate’s permanent collection.

Leslie Sacks Contemporary
Bergamot Station
2525 Michigan Avenue, Space B6
Santa Monica, CA 90404
t: (310) 264 0640
f: (310) 264 0740
e: info@lscontemporary.com
www.lesliesackscontemporary.com

Elisabeth Sunday has been photographing indigenous people across the African continent for the last 26 years. Using a flexible mirror she created for the purpose (and hand carries unaccompanied to some of the most remote and dangerous spots on earth), Sunday has created her own analog process that prefigured Photoshop that she calls "Mirror Photography". Her method of photographing her subjects emphasizes and enhances their grace, elongating the body and the folds of their garments, creating an impressionistic effect one might be used to seeing in painting but which is unexpected in a medium from which we often expect a more literal representation. The effect is closer to that of dance, in which the body has reshaped itself and learned to move in a way that proclaims and exaggerates all its best qualities, while momentarily silencing its flaws, and in which movement itself has an aesthetic, rather than merely practical, purpose. Typically Sunday captures an elongated vertical reflection, rushing and bleeding like a single expressive brush stroke. Although Sunday herself is never visible in the frame, she is as much actor as she is director within the drama of these photographs, as she strives to represent not so much the personal characteristics of her subjects, but an essential gesture that connects a given incarnation with the long history of the soul. In her Anima and Animus series, Sunday mediates on eternal masculine and feminine energies, using warlike Koro men and nomadic Tuareg women as subjects. The Anima women are hidden under flowing garments, slanting to left or right or reaching upward like dark flames against the steady white curve of a dune. The Animus figures rise like tough young trees or spears, rooted somewhere beneath the picture plane. Grace and violence here seem cast together in a solid block, As with so many of Elisabeth Sunday's figures, these seem composed of stone or bone more than living flesh. Elisabeth Sunday has shown in galleries and Museums the world over including the Cleveland Museum of Art, Centre cultural Calouste Gulbenkian, Paris, France, the African American Museum, Los Angeles; International Photography Biennial, Brecsia, Italy, UC Berkeley Art Museum; Salle d' Exposition, Arles, France, Le Maison de la Photographie, Aosta, Italy, Exploratorium Museum, San Francisco, CA Smithsonian Anakostia Museum, Center for African American History and Culture, Washington D.C. The Museum of Fine Arts, Houston, and The Los Angeles County Museum of Art. Her work is included in major collections: The Corcoran Art Gallery, The University Art Museum at Berkeley, The Cantor Art Center at Stanford University, The Los Angeles Museum of Art, The Museum of Fine Art-Houston, Le Bibliothèque Nationale de Paris, France, The San Francisco Museum of Art, and The Eastman Kodak Collection. Her private collectors include Graham Nash, Quincy Jones, Gloria Steinem, Linda Grey, Bill Cosby, Bonnie Raitt and Alice Walker.

A photography exhibition and auction.

We are pleased to present a special photography exhibition and auction curated by Jamie Lee Curtis.

Please join us for an opening reception Saturday, January 19th from 4-7p.

Richard E. Aaron, Shawna Ankenbrandt, Henry Diltz, Andrew Eccles, William Eggleston, Martine Fougeron, Polly Gaillard, Judy Ellis Glickman, Francie Bishop Good, Greg Gorman, Bob Gruen, Alexandra Hedison, Michael Hughes, Leon Levinstein, Vivian Maier, Sally Mann, Mary Ellen Mark, James Nachtwey, Eugene Pinkowski, Sebastião Salgado, Cindy Sherman, Taryn Simon, Art Streiber, Arne Svenson, Cy Twombly, Diana Walker, Andy Warhol and Todd Webb.

All proceeds benefit the renowned Frostig Center's social skills program for children with learning disabilities, Asperger's and high-functioning autism.

Presented by the Santa Monica Museum of Art in the G-Hallway

This 20th installment of the Santa Monica Museum of Art’s biannual Wall Works program is a collaboration with renowned local artist and designer Karen Kimmel, founder of Kimmel Kids, who with this project promotes discovery and the integration of abstract thinking, while exploring color, shape, and form. For Art of Exchange, Kimmel introduces hundreds of kindergarden through 12th grade students to the art of stencils and encourages them to use her flora and plant-inspired shapes to create their own unique designs. During the exhibition, stencils, pencils, and notepads will also be available to the public for interaction with the installation and to encourage new designs.

Art of Exchange is the 20th installment of SMMoA’s award-winning public arts program. Wall Works is SMMoA’s longest-running free educational arts program, which connects acclaimed contemporary artists with the creative imaginations of local Santa Monica-Malibu Unified School District students. For each Wall Works program, SMMoA provides participating schools free of charge with art supplies, lesson plans, and instructions, including a Museum-produced video with the featured artist. To date, the biannual Wall Works has involved more than 6,000 students in grades K-12, 50 schools in 5 districts and 20 artists. Wall Works was awarded the inaugural 2012 Superintendent’s Award for Excellence in Museum Education from the California Association of Museums (CAM). The Superintendent’s Award recognizes the outstanding achievements in California museum programs that serve K-12 students and/or educators.

Karen Kimmel, founder of Kimmel Kids, has designed and consulted for many distinguished creative companies, including Fendi, Nike, New Editions, and Aardvark Letterpress. Most recently, Kimmel partnered with Creative Growth to curate a line of products for Marc Jacobs. She has exhibited her artwork at such galleries as Mary Goldman Gallery and Elizabeth Olivera Gallery in Los Angeles and Sarah Meltzer Gallery in New York, and has created activated sculptural installations for the Scottsdale Museum of Fine Art in Arizona, the Museum of Contemporary Art in Chicago, the Barbican in London, and Los Angeles Contemporary Exhibitions in Los Angeles. Her work has appeared in well-known publications such as Vogue, W Magazine, Paper Magazine, Arkitip, Surface, and Artforum.

Support for SMMoA’s education and outreach is generously provided by The James Irvine Foundation; Good Works Foundation and Laura Donnelley; City of Santa Monica and the Santa Monica Arts Commission; and Sony Pictures Entertainment. Special thanks to Kimmel Kids and Bergamot Station LLC.

November 17 through December 16 2012

Lilla Bello Studio is a boutique floral studio, specializing in day-to-day florals, weddings, home installations and private events . We combine clean contemporary vessels with only the most premium lush florals, often with the unexpected succulent or silky orchid for that added touch. If you’re in the area, we invite you to come in and discover an array of fine gifts from gorgeous scented candles to one-of-a-kind vintage treasures.

Each floral arrangement is customized to our clients sentiment and budget.

Please order by 1pm for same day service. Local delivery within a 20 mile radius, Monday-Friday.

Feel free to call one of our design specialists to discuss your order: 310.453.3311

Order online: www.lillabello.com

at Duncan Miller Gallery, Sept 15 - Nov 3

Photographer Chris McCaw opens his third Duncan Miller Gallery exhibition with Heliomantic. On display for the first time, the one-of-a-kind photographs presented include large-format 30x40 prints. These new works will make their public debut along with a celebration of the artist's first book, Sunburn.

Lanisha Cole Gallery, August 12- October 31

Artist Reception: September 10, 2011 6-9pm

Unjusa Temple
Ultra Chrome Print
47" x 37"

at Gallery Luisotti until July 9, 2011

The objective coolness in these pictures renders color as an elemental form, one serving to further accentuate the contours of the scene. Brohm’s Ohio is a place of bleached house paints, washed bricks, and faint neon signs – colors of a distant fragment of time.