diff --git a/evaluation/taheriyan2016/task_03/semantic_models_gt/jarql/s08-s-17-edited.query b/evaluation/taheriyan2016/task_03/semantic_models_gt/jarql/s08-s-17-edited.query index 1eb3bf66..7fb0029f 100644 --- a/evaluation/taheriyan2016/task_03/semantic_models_gt/jarql/s08-s-17-edited.query +++ b/evaluation/taheriyan2016/task_03/semantic_models_gt/jarql/s08-s-17-edited.query @@ -74,6 +74,6 @@ WHERE { BIND (URI(CONCAT('http://www.europeana.eu/schemas/edm//webresource/',?IMAGESRC)) as ?WebResource1) BIND (URI(CONCAT('http://www.europeana.eu/schemas/edm//webresource/',?VIDEO)) as ?WebResource2) BIND (URI(CONCAT('http://purl.org/vocab/frbr/core/person/',?AUTHOR)) as ?Person1) - BIND (URI(CONCAT('http://www.americanartcollaborative.org/ontology//culturalheritageobject/',?DESCRIPTION)) as ?CulturalHeritageObject1) - BIND (URI(CONCAT('http://www.europeana.eu/schemas/edm//europeanaaggregation/',?DESCRIPTION)) as ?EuropeanaAggregation1) -} \ No newline at end of file + BIND (URI(CONCAT('http://www.americanartcollaborative.org/ontology//culturalheritageobject/',?TITLE)) as ?CulturalHeritageObject1) + BIND (URI(CONCAT('http://www.europeana.eu/schemas/edm//europeanaaggregation/',?TITLE)) as ?EuropeanaAggregation1) +} diff --git a/evaluation/taheriyan2016/task_03/semantic_models_gt/jarql_st/s08-s-17-edited.query b/evaluation/taheriyan2016/task_03/semantic_models_gt/jarql_st/s08-s-17-edited.query index ef3c0805..3e9a5818 100644 --- a/evaluation/taheriyan2016/task_03/semantic_models_gt/jarql_st/s08-s-17-edited.query +++ b/evaluation/taheriyan2016/task_03/semantic_models_gt/jarql_st/s08-s-17-edited.query @@ -70,5 +70,5 @@ WHERE { BIND (URI(CONCAT('http://www.europeana.eu/schemas/edm//webresource/',?IMAGESRC)) as ?WebResource1) BIND (URI(CONCAT('http://www.europeana.eu/schemas/edm//webresource/',?VIDEO)) as ?WebResource2) BIND (URI(CONCAT('http://purl.org/vocab/frbr/core/person/',?AUTHOR)) as ?Person1) - BIND (URI(CONCAT('http://www.americanartcollaborative.org/ontology//culturalheritageobject/',?DESCRIPTION)) as ?CulturalHeritageObject1) -} \ No newline at end of file + BIND (URI(CONCAT('http://www.americanartcollaborative.org/ontology//culturalheritageobject/',?TITLE)) as ?CulturalHeritageObject1) +} diff --git a/evaluation/taheriyan2016/task_03/semantic_models_gt/rdf/s08-s-17-edited.rdf b/evaluation/taheriyan2016/task_03/semantic_models_gt/rdf/s08-s-17-edited.rdf index 6592ee4f..2bcd8d74 100644 --- a/evaluation/taheriyan2016/task_03/semantic_models_gt/rdf/s08-s-17-edited.rdf +++ b/evaluation/taheriyan2016/task_03/semantic_models_gt/rdf/s08-s-17-edited.rdf @@ -1,58 +1,22 @@ - - - ; - - "From the late 1970s through the mid-1990s, Los Angeles artist Raymond Pettibon produced more than 100 booklets developing his image-text drawings, which convey loose, often disjointed narratives. He self-published these booklets as zines photocopied, folded and center-stapled 8 1/2 × 11 pamphlets issued in small editions. This exhibition featured many of these rare works, along with original wall drawings with various newspaper and magazine clippings attached, a selection of old and new videos, and two recent portfolios. Curated by German curator and writer Roberto Ohrt, The Book Show appeared previously at the Contemporary Fine Arts in Berlin, the MAK in Vienna, and the David Zwirner Gallery in New York."^^ ; - - "The Book Show: Raymond Pettibon 1978-2001"^^ ; - - . - ; "https://smmoa.org/audio/tell-me-something-good-a-collaboration-between-kim-schoenstadt-and-rita-mcbride/"^^ . - - - ; - - "This exhibition focused on the work of James Carter, outsider scientist and author of The Other Theory of Physics. Drawing on Carter s self-published books and pamphlets rife with mathematical formulae, diagrammatic illustrations, and computer animations the exhibition explored Carter s alternative theory of the creation of the universe and his do-it-yourself vision of reality. Lithium Legs and Apocalyptic Photons was guest-curated by Margaret Wertheim and organized by SMMoA."^^ ; - - "Lithium Legs and Apocalyptic Photons: The Imaginative World of James Carter"^^ ; - - . - - - - "Hosted by the Santa Monica Museum of Art, the 1993 annual exhibition of the Los Angeles Center for Photographic Studies included photographic work by LACPS members from around the country. Juried by Ann Goldstein, Associate Curator for the Museum of Contemporary Art, Los Angeles."^^ ; - - "1993 Los Angeles Center for Photographic Studies Annual Exhibition"^^ ; - - . - - - - "This exhibition brought together more than fifty posters produced by the preeminent graphic artist Milton Glaser from his iconic Dylan to his series for the Palermo Opera House. One of the most influential figures in the history of international design, Glaser has worked in a great variety of forms, including posters, book jackets, album sleeves, CD covers, store and restaurant designs, toy creations, magazine formats, and logotypes."^^ ; - - "Milton Glaser"^^ ; - - . - - + - ; + ; - "Jennifer Steinkamp employs existing architectural features in her interactive video installations. In The TV Room, three narrow wall screens were hung horizontally to suggest television scanlines, and an abstract animation was projected on the screens and the walls behind. Steinkamp s images worked in tandem with the audio, composed by Andrew Bucksbarg, to alter viewers experiences according to their location within the space. The work called forth a spatial meeting place between the subjective, singular camera of cinema and the multiplicitous perspectives of abstract painting."^^ ; + "Nearly sixty works by Los Angeles artist Karen Carson were included in this mid-career survey. The works spanned the preceding twenty-five years and encompassed her artistic production in all media including painting, drawing, and mixed-media works and traced her stylistic journey from abstraction through pop. The Santa Monica Museum s exhibition was part of a citywide project entitled But Enough About Me, which included presentations of Carson s work at Otis College of Art and Design, Los Angeles, and Los Angeles Contemporary Exhibitions (LACE)."^^ ; - "Public Works: Jennifer Steinkamp in Collaboration with Andrew Bucksbarg: The TV Room"^^ ; + "Karen Carson: But Enough About Me A Twenty-Five Year Survey"^^ ; . - + - . + . @@ -60,13 +24,9 @@ "https://smmoa.org/audio/introduction-al-taylor-wire-instruments-and-pet-stains/"^^ . - - - . - - + - . + . @@ -74,33 +34,19 @@ . - - - "Ant Farm 1968-1978 marked the first major museum retrospective of the Ant Farm collective s underground architecture, video, performance, and installation. Committed to working outside traditional systems, core members Doug Michels, Chip Lord, and Curtis Schreier riffed off, puckishly chided, and embraced themes of contemporary pop culture especially cars, space exploration, and the future in a way that presaged the work of many later artists and radical thinkers. Ant Farm was responsible for such iconic works as Cadillac Ranch (1974), a modern Stonehenge of ten mid-century Cadillacs buried nose down, and Media Burn (July 4, 1975), in which artist-dummies Michels and Schreier drove the Phantom Dream Car, a customized 1959 Cadillac convertible, through a wall of flaming televisions. The exhibition included the ICE-9 inflatable, a visual timeline of the collective, blueprints, publications, drawings, collages, architectural models, illustrative video clips, and a video retrospective from the Pacific Film Archive, as well as other documentary material and ephemera."^^ ; - - "Ant Farm 1968-1978"^^ ; - - . - - - - . - - + - ; + ; - "With Vacant Lot, a series of photographs of transitory spaces in the city of Los Angeles and throughout the United States, Alex Slade continued the exploration of mapping and topography evident throughout his work. The vacant lot is temporal real estate created by abandonment, loss, significance, and change. At first glance, Slade s site selection appears devoid of content, yet upon closer inspection these locations are full of meaning, charting the ebb and flow of financial fortunes, shifts in population, and dynamic and ephemeral histories of neighborhoods. His subjects are entropic places reflecting the natural world, built environment, and human dramas in their chaotic slides towards disorder."^^ ; + "The Santa Monica Museum of Art presents Allen Ruppersberg: You and Me or The Art of Give and Take. Among the first generation of American conceptual artists that also includes John Baldessari, Douglas Huebler, and Bruce Nauman who redefined artistic practice during the 1970s, this exhibition features two new major interactive installations created especially for the occasion. Allen Ruppersberg: You and Me or The Art of Give and Take opens on September 12 and continues through December 19, 2009. We are delighted to present this exhibition at SMMoA, states Elsa Longhauser, Executive Director. Al is a vernacular anthropologist whose artistic interests and sensibilities have been indelibly shaped by the spirit and ethos of Southern California. Ruppersberg s vast oeuvre includes paintings, prints, photographs, sculptures, installations and books that explore the intersection of art, literature, and life. His work is often participatory, like that of Allan Kaprow and others, and he finds source material in the everyday. Ruppersberg s vast collection of early to mid-twentieth-century cultural ephemera-which includes calendars, snapshots, magazines, comic books, newspaper clippings, postcards, posters, and instructional films-form the basis of much of his recent work. As a teacher and artist, Ruppersberg has also influenced several Los Angeles artists of the generation following his, including, most notably, Jim Shaw and Mike Kelley, whose works also deal with the American vernacular. East Coast artist Rachel Harrison, who incorporates a deluge of cultural debris in her sculptures-celebrity magazines, costume jewelry, canned goods, and wigs-has acknowledged Ruppersberg s importance in the development of her own work. Ruppersberg has always had a strong, independent vision shaped first by growing up in America s heartland and also by spending months and years living and working in New York and Europe, where his work has been shown in an array of major museums. Two new large-scale installations in this exhibition continue to expand Ruppersberg s use of imagery culled from his vast archive of twentieth-century ephemera. The Never Ending Book Part 2/Art and Therefore Ourselves (2009), is a selection of more than 15,000 pages of Xeroxed images from the artist s book collection, installed in a stage-like environment made of theatrical props and early twentieth-century mural-sized vintage posters. The pages are stacked in approximately fifty small cardboard boxes designed by the artist. These duplicated pages are free for the taking. In this way, Ruppersberg makes his library available to each audience member who can subsequently create his or her own unique book to take home. As part of this project, Ruppersberg has created a 33 RPM vinyl LP record, which functions as an oral analog to the books on view. The record includes old songs and hymns, spoken word recordings, recipes read by poet Bill Berkson, and people singing around the piano, all dating from the early to mid-20th century. For the second installation, The Sound and the Story/The Hugo Ball Award for 20th Century Graphics (2009), photocopied and laminated items of everyday ephemera from Ruppersberg s extensive collection are suspended from a wall of pegboards. Viewers are invited to rearrange the materials on the pegboard to create their own narrative. During the run of the exhibition, Ruppersberg will periodically respond to these arrangements by reorganizing the items himself, thus creating a visual conversation with his audience co-producers. The exhibition also includes a selection of earlier collages and drawings-two-dimensional works from important series The Gift and the Inheritance (1989), and Cover Art (1985); both of which provide an historical backdrop to the new installations. Ruppersberg s work is held in major collections including the Museum of Modern Art, New York; the Los Angeles County Museum of Art; the Art Institute of Chicago; and the Whitney Museum of American Art, New York. He was born in Cleveland, Ohio, and lives and works in Los Angeles and New York. Allen Ruppersberg: You and Me or The Art of Give and Take is organized by the Santa Monica Museum of Art. Guest curator of the exhibition is Constance Lewallen, Adjunct Curator at the Berkeley Art Museum and Pacific Film Archive. The publication that accompanies the exhibition was conceived by Ruppersberg as an artwork in itself, and is a cross between a traditional catalog and an artist s book. Based on a 1956 edition of travel guideThe Guest Informant, it is spiral-bound and cardboard-covered. The publication contains essays by renowned author and cultural critic, Greil Marcus, and guest curator Constance Lewallen, along with an interview with and commentary on the artist, random ephemera, and exhibition information. It is co-published by JRP|Ringier, Switzerland. The new vinyl LP record will also be available in a limited edition of 200. Major support for the exhibition and publication is provided by The Andy Warhol Foundation for the Visual Arts. Additional funding is provided by LLWW Foundation, the Frederick R. Weisman Philanthropic Foundation, the Pasadena Art Alliance, and Margo Leavin Gallery. Related programming is made possible in part by a grant from the City of Santa Monica and the Santa Monica Arts Commission, Emily Fisher Landau, Lenore and Bernard Greenberg, and Judy and Stuart Spence."^^ ; - "Alex Slade: Vacant Lot"^^ ; + "Allen Ruppersberg: You and Me or The Art of Give and Take"^^ ; . - + - ; - - . + . @@ -108,17 +54,23 @@ . - - - . + + + ; + + "Under Lock and Key, a multimedia video installation by Beth B, a New York film and video artist, explored themes of domestic and criminal violence. At the core of this exhibition was Amnesia, a painting, photographic, and video installation in which fascistic strategies of intimidation were appropriated in a scathing indictment of racism and other destructive attitudes. This exhibition originated at the Wexner Center for the Arts in Columbus, Ohio."^^ ; + + "Beth B: Under Lock and Key and Amnesia"^^ ; + + . - + - . + . - + - . + . @@ -132,17 +84,27 @@ . - + - . + . - + - ; + ; - "Mogul s video diary of her travels to Poland, Czechoslovakia, and Yugoslavia during the summer of 1990, presented a within an installation that simulated her apartment in Warsaw, reflected her fascination with individuals living in extreme situations. Drawing on her affinity with the poetic irony prevalent in Eastern European art and literature, Mogul also presented an idiosyncratic and intimate conversational monologue based upon her three-month visit to Eastern Europe."^^ ; + "This exhibition consisted of a dozen recent pastel works on paper by Los Angeles artist Lavi Daniel. Exhibited for the first time, Daniel s drawings are characterized by forms that vacillate between biomorphism and abstraction; the forms suggest organic processes as they engage issues of pictorial representation."^^ ; - "Susan Mogul: Prosaic Portraits, Ironies, and Other Intimacies An Eastern European Diary Artist Project Series"^^ ; + "Lavi Daniel: New Works on Paper Community Focus Gallery"^^ ; + + . + + + + ; + + "This installation of drawings and videos documented Andrea Bowers s inquiry into the nature of crowds and an individual s role and identity within them. The face in the crowd, the individual interacting within society, the process of socialization these are some of the ideas explored in Bowers s multimedia installations. Bowers s videos of people at spectator events gave fans in the crowd the opportunity to become performers in their own right. The presentation of Spectacular Appearances was part of the citywide festival of independent video and new media, All Over the Map."^^ ; + + "Andrea Bowers: Spectacular Appearances Artist Project Series"^^ ; . @@ -152,47 +114,59 @@ . - + + + ; - "INCOGNITO, Santa Monica Museum of Art’s highly anticipated annual art exhibition and benefit sale, will return for its sixth year on Saturday, May 1, 2010. Attendees—from sophisticated art supporters to first-time collectors—are encouraged to trust their instincts to guide their selections, as works are signed on the back and artist identities are revealed only after purchase. Doors open 7pm sharp Music by DJ Jason Bentley, KCRW Music Director Cocktails Food by Lene All works 8 x 10 $300 (+ tax) Signed on the back Artist identity revealed only after purchaseINCOGNITO 2010 Committee Price Latimer Agah, Michael Briggs, Charlotte Eyerman, Andrea Feldman Falcione, Veronica Fernandez, Alexandra Gaty, Justin Gilanyi, Heather Harmon, Bettina Korek, Kris Kuramitsu, Kim McCarty, David Montalba, Bruce Samuels, MD, Colette Shelton, Dr. Leigh Silverton, V. Joy Simmons, MD, Andrew Stearn, Jeffrey UslipTickets and PackagesCognoscenti $5,000 ($4,280 tax deductible) • 4 event tickets • 2 vouchers for artworks • Invitation for 4 to private tour with Nancy Rubins at her Topanga studios. Saturday, April 24 at 10:30 am followed by luncheon • Invitation for 4 to champagne preview (Thursday, April 29, 6:30 – 8:00 pm) • Expedited check-in and priority entrance • 2 exclusive INCOGNITO Messenger Bags • Prominent title wall, print and online recognition • Reserved parking for 2 cars • Donor recognition for Park Studio, SMMoA’s Signature spring break outreach program, and sponsorship of 1 Park Studio student artist to attend INCOGNITOBenefactor $1,500 ($1,200 tax deductible) • 2 event tickets • 1 artwork voucher • Invitation for 2 to champagne preview (Thursday, April 29, 6:30 – 8:00 pm) • Expedited check-in and priority entrance following Cognoscenti • Print and online recognition • Reserved parking for 1 car Patron $600 ($300 tax deductible) • 2 event tickets • 1 artwork voucher • Priority entrance immediately following Benefactors Supporter $100 ($100 tax deductible) • 1 event ticket • Entrance following Patrons ($150 at the door) For more information about artists, tickets, and packages, please call 310.586.6488 x 116 or go to http://www.smmoa.org/ INCOGNITO 2010 Sponsors 89.9 KCRW ForYourArt Malibu Family Wines Pura Casta Tequila Room Board Home Furnishings INCOGNITO 2010 Participating Artists (As of April 9, 2010) Luciana Abait, Kim Abeles, Lisa Adams, Nick Agid, Cathy Akers, Lita Albuquerque, Cynthia Alexander, Rachel Allen, Terry Allen, Jami Allen-Snyder, Sophia Allison, Fumiko Amano, Kathryn Andrews, Eleanor Antin, Carolyn D. Applegate, Edgar Arceneaux, Skip Arnold, Charles Arnoldi, Dawn Arrowsmith, Joshua Aster, Chad Attie, Lisa Anne Auerbach, Don Bachardy, Donald Baechler, Hilary Baker, John Baldessari, Glen Baldridge, Kate Barclay, Miyoshi Barosh, Mely Barragán, Kelly Barrie, Ray Barrie, Judith Barry, Edith Beaucage, Martin Beck, Tina Beebe, Larry Bell, Quinton Bemiller, Neil Bender, Maura Bendett, Tom Benedek, Lynda Benglis, Billy Al Bengston, Cindy Bernard, Jodie Berry, Guillermo Bert, Hisham Akira Bharoocha, Brian Biedul, Joe Biel, Alvaro Blancarte, Dan Bohbot, Jill Bonovitz, Derek Boshier, Janet Bothne, Katy Kristin Bowen, Jennifer Boysen, Mark Bradford, Leonardo Bravo, Brian Bress, Kimberly Brooks, Stephanie Brooks, Edgar Bryan, David Buckingham, Jeremy Burleson, Bruce Busby, Matty Byloos, Kristin Calabrese, Huguette Caland, Joshua Callaghan, Jo Ann Callis, Jane Callister, Clayton Campbell, Barbara Carrasco, Karen Carson, Carter Carter, Richard Carter, Cole Case, Enrique Castrejon, Jennifer Celio, Corinne Chaix, Matt Chambers, Jeff Charbonneau Eliza French, Daniel Chavira, Nicole Cherubini, Marc Chiat, Tofer Chin, Clayton Brothers, George Comer, Brian Cooper, Michael Coughlan, Eileen Cowin, Lori Cozen-Geller, Liz Craft, Thomas Alan Cronk, Hugo Crosthwaite Studio, Krysten Cunningham, Jay Davis, Len Davis, Woods Davy, Tony de los Reyes, Mara De Luca, Michael Dee, Steve DeGroodt, Tony DeLap, Jane Dickson, Ann Diener, Guy Dill, Laddie John Dill, Kim Dingle, Tomory Dodge, Mimi Drop, Sean Duffy, Barry Dukoff, Anna Dusi, Mark Dutcher, Mari Eastman, Brad Eberhard, Jonmarc Edwards, Ashley McLean Emenegger, Elizabeth Enders, Noah Erenberg, Sam Erenberg, Timothy Ernst, Ned Evans, Kirsten Everberg, Betsy Everitt, Bart Exposito, Mollie Favour, Diane Fenster, Carolyn Fernandez, Bruria Finkel, Chris Finley, Ed Flynn, Kianga Ford, Simone Forti, Andrew Foster, Brendan Fowler, Jona Frank, Bryan Freeny, Sarah Frost, Gajin Fujita, Caroline Furr, Joe Fyfe, Francesca Gabbiani, Charles Gaines, Steve Galloway, Corina Gamma, Helen Garber, Helen K. Garber, Rico Gatson, Jordan Gaunce, Megan Geckler, Milton Glaser, Gustavo Godoy, Sayre Thomas Gomez, Marcelino Gonçalves, Yolanda Gonzalez, Joe Goode, Penelope Gottlieb, Timothy Granlund, Alexandra A. Grant, John Grauman, Cameron Gray, Phyllis Green, Mark Steven Greenfield, Maria Greenshields-Ziman, Alvin Gregorio, Logan Grider, Margaret Griffith, Iva Gueorguieva, Jennifer Guidi, Sherin Guirguis, Mary Addison Hackett, Eulilia Halloran, Nancy Jean Hancock, Lynn Hanson, Kira Lynn Harris, Willie Harris, Karen Harter, Doug Harvey, Hock e aye vi Edgar Heap of Birds, Deborah Hede, Drew Heitzler, Matthew Heller, David Hendren, Brandon Herman, Roger Herman, George Herms, Pixie Herms, Juan Carlos Muñoz Hernandez, Gilah Yelin Hirsch, Asuka Hisa, Julian Hoeber, Susan Holcomb, Loren Holland, Violet Hopkins, Channa Horwitz, Bettina Hubby, David Huffman, Salomón Huerta, Sara Hunsucker, Dusadee Huntrakul, Eva Hyam, Mac James, Max Jansons, Ellen Jantzen, Michael Jantzen, JC Jaress, Danny Jauregui, Gabriel Johnson, Larry Johnson, Robert Johnson, Vincent Johnson, Joan Jonas, Michael Joo, Gegam Kacherian, Sharon Kagan, Yoichi Kawamura, Veronika Kellendorfer, Szajna Kellman, Mary Kelly, Arnold J. Kemp, Brian Kennon, Kristi Kent, Martin Kersels, Soo Kim, Linda King, Bill Kleiman, Patricia Knop, Christof Kohlhofer, Alice Könitz, Olga Koumoundouros, Tom Kovachevich, Joyce Kozloff, Alan Kupchick, Aitor Lajarin, Suzy Lake, Lauren Lavitt, Diane Lavoie, Brendan Leech, Tom Leeser, Joshua Levine, Les Levine, Robert Levine, Sharon Levy, John Oliver Lewis, Glenn Ligon, Won Ju Lim, Clarence Lin, Jed Lind, Chris Lipomi, Annabel Livermore, Jay Lizo, Sharon Lockhart, Karen Lofgren, William Longhauser, Mara Lonner, Renée Lotenero, Richard Louderback, Jean Lowe, Heriberto Luna, Eva Lundsager, Mela M., Kim MacConnel, Nancy Macko, Chris Madans, Constance Mallinson, Daniel Maltzman, Becca Mann, Summer Mann, Ana Marini-Genzon, Adam Marnie, Hudson Marquez, Luigia Martelloni, Taras Matla, Thom Mayne/Morphosis Architects, Jessica McCambly, Kim McCarty, David McDonald, Mercedes McDonald, Kelly McLane, Michael C. McMillen, Rodney McMillian, James McNulty, Blue McRight, Rob Mellor, Thom Merrick, Arnold Mesches, Tom Millea, John Millei, Brad Miller, Greg Miller, James Miller, Robin Mitchell, Ginette Mizraki, Bobbie Moline-Kramer, Nancy Monk, Lester Monzon, Dominique Moody, Mary More, Jim Morphesis, Rebecca Morris, Aaron Morse, Andy Moses, Ed Moses, Joshua Mosley, Sandeep Mukherjee, Dave Muller, Mario M. Muller, Manfred Müller, Thomas Müller, Hillary Mushkin, Barbara Nathanson, Tucker Neel, Ruby Neri, Charles Nickila, Jessica Nicol, Leonard Nimoy, Yarg Noremac, Laurie Nye, Odili Donald Odita, Matthew Offenbacher, Saelee Oh, Chris Oliveria, Pat O’Neill, Yoko Ono, Catherine Opie, Ed Osborn, Ruby Osorio, Edward Carlo Pacio, Rosieta Pardo, Izhar Patkin, Emilio Chapela Perez, Luciano Perna, Renee Petropoulos, Raymond Pettibon, Margaret Pezalla-Granlund, Francis Pezza, Vidal Pinto, Paul Pitsker, Plasticgod, Bruce Pollock, Lori Precious, Astrid Preston, Monique Prieto, Yuval Pudik, Antonio Puleo, Rosamond Purcell, Jonathan Pylypchuk, Bill Radawec, Elsa Rady, David Reed, Miles Regis, Roland Reiss, Marco Rios, Ellwood T. Risk, Lynn Robb, John Robertson, Walter Robinson, Steve Roden, Ana Rodriguez, Artemio Rodriguez, Michael A. Rosenfeld, Rachel Rosenthal, Erika Rothenberg, Melanie Rothschild, Daniel Ruanova, Nancy Rubins, Kathy Rudin, Allen Ruppersberg, Ed Ruscha, Eddie Ruscha, Sharon Ryan, Alison Saar, Betye Saar, Lezly Saar, Souther Salazar, Gwen Samuels, Adrian Sanchez, Ruth San Pietro, Eduardo Sarabia, Julião Sarmento, Larry Scharf, Christoph Schmidberger, Carolee Schneemann, Kim Schoen, Kim Schoenstadt, Barbara Schwan, Josh Schweitzer, Chloe Sells, Lisa Semler, Shelter Serra, Marie Sester, Claudio Sgaravizzi, Peter Shire, Elena Mary Siff, Richard David Sigmund, Doni Silver Simons, Elias Sime, Kristina Simonsen, Elizabeth Simonson, Anna Simson, Alex Slade, Rena Small, Ali Smith, Joe Sola, Mariangeles Soto-Diaz, Alyson Souza, Brad Spence, Jeni Spota, Andréa Stanislav, Randi Malkin Steinberger, Coleen Sterritt, Mary Clare Stevens, Jennifer Steinkamp, Whitney Stolich, Roni Stretch, Dean Styers, Don Suggs, May Sun, Ricky Swallow, Ami Tallman, Henry Taylor, Mickalene Thomas, Mark Todd, Timothy Tompkins, Ibojka M. Toth, David Trulli, Shirley Tse, Brian Tucker, Carrie Ungerman, Miller Updegraff, Migdalia Valdes, Bob Van Breda, Lesley Vance, Jennifer Vanderpool, Mark Verabioff, Ariane Vielmetter, Tyler Vlahovich, Catherine Wagner, Keith Walsh, Gary Ward, Esther Pearl Watson, Mary K. Weatherford, Marnie Weber, Ruth Weisberg, Jeffrey Wells, Brett Westfall, Ben White, Pae White, Edward Walton Wilcox, Robert Williams, Brian Wills, Lyn Winter, Steven Wolkoff, Suzan Woodruff, Miriam Wosk, Tom Wudl, Leslie Yagar, Rosha Yaghmai, Liat Yossifor, Kent Kevin Young, Brenna Youngblood, Buzz Yudell, Eric Zammitt, Jody Zellen, Bari Ziperstein, Kevin Zucker, Sarah Zwerling Artist participation is by invitation only."^^ ; + "Large, sculptural forms were suspended from the brightly painted canopy of the enormous plaster construction, Tree of Life, whose boughs mingled with the museum s wooden rafters. This site-specific work explored the junctions between nature and artifice, painting and sculpture, high art and kitsch exposing Estrada s humorous and nightmarish vision of contemporary culture."^^ ; - "INCOGNITO 2010"^^ ; + "Victor Estrada: Tree Of Life Artist Project Series"^^ ; . - - - ; + - "The Santa Monica Museum of Art presents Allen Ruppersberg: You and Me or The Art of Give and Take. Among the first generation of American conceptual artists that also includes John Baldessari, Douglas Huebler, and Bruce Nauman who redefined artistic practice during the 1970s, this exhibition features two new major interactive installations created especially for the occasion. Allen Ruppersberg: You and Me or The Art of Give and Take opens on September 12 and continues through December 19, 2009. We are delighted to present this exhibition at SMMoA, states Elsa Longhauser, Executive Director. Al is a vernacular anthropologist whose artistic interests and sensibilities have been indelibly shaped by the spirit and ethos of Southern California. Ruppersberg s vast oeuvre includes paintings, prints, photographs, sculptures, installations and books that explore the intersection of art, literature, and life. His work is often participatory, like that of Allan Kaprow and others, and he finds source material in the everyday. Ruppersberg s vast collection of early to mid-twentieth-century cultural ephemera-which includes calendars, snapshots, magazines, comic books, newspaper clippings, postcards, posters, and instructional films-form the basis of much of his recent work. As a teacher and artist, Ruppersberg has also influenced several Los Angeles artists of the generation following his, including, most notably, Jim Shaw and Mike Kelley, whose works also deal with the American vernacular. East Coast artist Rachel Harrison, who incorporates a deluge of cultural debris in her sculptures-celebrity magazines, costume jewelry, canned goods, and wigs-has acknowledged Ruppersberg s importance in the development of her own work. Ruppersberg has always had a strong, independent vision shaped first by growing up in America s heartland and also by spending months and years living and working in New York and Europe, where his work has been shown in an array of major museums. Two new large-scale installations in this exhibition continue to expand Ruppersberg s use of imagery culled from his vast archive of twentieth-century ephemera. The Never Ending Book Part 2/Art and Therefore Ourselves (2009), is a selection of more than 15,000 pages of Xeroxed images from the artist s book collection, installed in a stage-like environment made of theatrical props and early twentieth-century mural-sized vintage posters. The pages are stacked in approximately fifty small cardboard boxes designed by the artist. These duplicated pages are free for the taking. In this way, Ruppersberg makes his library available to each audience member who can subsequently create his or her own unique book to take home. As part of this project, Ruppersberg has created a 33 RPM vinyl LP record, which functions as an oral analog to the books on view. The record includes old songs and hymns, spoken word recordings, recipes read by poet Bill Berkson, and people singing around the piano, all dating from the early to mid-20th century. For the second installation, The Sound and the Story/The Hugo Ball Award for 20th Century Graphics (2009), photocopied and laminated items of everyday ephemera from Ruppersberg s extensive collection are suspended from a wall of pegboards. Viewers are invited to rearrange the materials on the pegboard to create their own narrative. During the run of the exhibition, Ruppersberg will periodically respond to these arrangements by reorganizing the items himself, thus creating a visual conversation with his audience co-producers. The exhibition also includes a selection of earlier collages and drawings-two-dimensional works from important series The Gift and the Inheritance (1989), and Cover Art (1985); both of which provide an historical backdrop to the new installations. Ruppersberg s work is held in major collections including the Museum of Modern Art, New York; the Los Angeles County Museum of Art; the Art Institute of Chicago; and the Whitney Museum of American Art, New York. He was born in Cleveland, Ohio, and lives and works in Los Angeles and New York. Allen Ruppersberg: You and Me or The Art of Give and Take is organized by the Santa Monica Museum of Art. Guest curator of the exhibition is Constance Lewallen, Adjunct Curator at the Berkeley Art Museum and Pacific Film Archive. The publication that accompanies the exhibition was conceived by Ruppersberg as an artwork in itself, and is a cross between a traditional catalog and an artist s book. Based on a 1956 edition of travel guideThe Guest Informant, it is spiral-bound and cardboard-covered. The publication contains essays by renowned author and cultural critic, Greil Marcus, and guest curator Constance Lewallen, along with an interview with and commentary on the artist, random ephemera, and exhibition information. It is co-published by JRP|Ringier, Switzerland. The new vinyl LP record will also be available in a limited edition of 200. Major support for the exhibition and publication is provided by The Andy Warhol Foundation for the Visual Arts. Additional funding is provided by LLWW Foundation, the Frederick R. Weisman Philanthropic Foundation, the Pasadena Art Alliance, and Margo Leavin Gallery. Related programming is made possible in part by a grant from the City of Santa Monica and the Santa Monica Arts Commission, Emily Fisher Landau, Lenore and Bernard Greenberg, and Judy and Stuart Spence."^^ ; + "Dutch artist Lara Schnitger produces large, site-specific installations using a variety of mundane materials such as stockings and chopsticks. In this exhibition, her sprawling, tentacular installation transformed the Project Room into a bat cave."^^ ; - "Allen Ruppersberg: You and Me or The Art of Give and Take"^^ ; + "Lara Schnitger"^^ ; . - + - ; - - . + . - + - ; + ; - "Action Station examined the subject of interactivity in contemporary art and the resulting dialogue between artist and viewer. The exhibition traced a growing trend among artists who invite the viewer to interact physically with their artworks by disassembling and reassembling them in myriad configurations. All the works presented were conceived by the artists to incorporate viewer interaction and participation: some of the works invited the viewer to decode a textual message; shake oversized, candy-colored papier-mâché beach balls; and develop an alternative persona by trying on different garments. Organized by Sue Spaid, a freelance curator, Action Station included work by Terri Friedman, Joseph Grigely, Laura Howe, Lunna Menoh, and Carol Szymanski, as well as historically related Fluxus works by artists such as George Brecht and Yoko Ono."^^ ; + "In his first museum exhibition, Khalif Kelly presents a new series of paintings based on vignettes from imaginary fairy tale adventures that portray children interacting with an array of weird and wonderful protagonists. With a fresh and vivid palette, a reductive, cartoon-like figurative style with a metallic-like patina reminiscent of video game robots and characters, Kelly creates scenes that on closer inspection reveal a mixture of personal archetypes and classic racial stereotypes. The artist s aesthetic includes references to the figurative work of Jacob Lawrence and to the controversial stop motion animations of George Pal, especially John Henry and the Inky-Poo and the Jasperseries from the 1940s. Like Pal, Kelly utilizes the perception of race as a narrative device, something to work with and work against in the children s formation of identity through play. Kelly was born in Nashville, Tennessee in 1980 and grew up in Arlington, Texas. He received his B.F.A. in Painting from The School of the Art Institute of Chicago, and his M.F.A. from Yale University. The artist lives and works in New Haven, Connecticut, and also works in New York. Support for the exhibition is provided by the Peter Norton Family Foundation on behalf of Eileen Harris Norton."^^ ; - "Action Station: Exploring Open Systems"^^ ; + "Khalif Kelly: Electronicon"^^ ; . - + + + . + + + + ; + + . + + + + . + + - ; + ; - "This exhibition examined for the first time a mixed-media collage book created by Beck Hansen along with selected, lesser-known works by Al Hansen. Beck s collages suggest a hybrid form of process art devoid of the slick packaging of high conceptual art or the pop music for which he s best known. Included in the show were examples of Al Hansen s signature Goddess Venus figures composed of cigarette butts, Hershey bar wrapper text collages, photographic compositions, and handcrafted city maps. Playing with Matches was organized by Wayne Baerwaldt of Plug In Inc., a nonprofit center for contemporary art in Winnipeg, Canada; the accompanying illustrated catalog was copublished by Smart Art Press and Plug In Editions."^^ ; + "Induction, a video-and-sound installation created by the collaborative team of Bender and Funicelli, addressed the viewer s interpretation of sensory-based information (images, spoken texts, and music) as it informs, and is informed by, the viewer s own memories, dreams, fantasies, and history. This work, employing as a metaphor the medieval musical technique of organum whereby a fundamental tune is distorted by the dissonant polyphony laid over it challenged the notion that a coherent reality can exist in a time and a culture characterized by contradiction and chaos."^^ ; - "Beck and Al Hansen: Playing with Matches Community Focus Gallery"^^ ; + "Stuart Bender and Angelo Funicelli: Induction Artist Project Series"^^ ; . @@ -208,27 +182,19 @@ "https://smmoa.org/audio/project-room-loren-holland-black-magic-woman-audio/"^^ . - - - . - - + - ; + ; - "Using language both popular and literary Abby Donovan s sculptures probe how we read meaning. Donovan creates hand-wrought, heaped, and sometimes physically frail words and phrases out of such diverse materials as cloth, latex, clay, foam, and cement, affording the viewer an entirely new way of experiencing communication in general and words and phrases in particular. In Tick Tock, Donovan looked to sources from Cervantes to Kafka to physically reinvent language  piling, stuffing reflecting, and sewing words in a surprising variety of ways."^^ ; + "From the late 1970s through the mid-1990s, Los Angeles artist Raymond Pettibon produced more than 100 booklets developing his image-text drawings, which convey loose, often disjointed narratives. He self-published these booklets as zines photocopied, folded and center-stapled 8 1/2 × 11 pamphlets issued in small editions. This exhibition featured many of these rare works, along with original wall drawings with various newspaper and magazine clippings attached, a selection of old and new videos, and two recent portfolios. Curated by German curator and writer Roberto Ohrt, The Book Show appeared previously at the Contemporary Fine Arts in Berlin, the MAK in Vienna, and the David Zwirner Gallery in New York."^^ ; - "Abby Donovan: Tick Tock"^^ ; + "The Book Show: Raymond Pettibon 1978-2001"^^ ; . - - - . - - + - . + . @@ -236,21 +202,81 @@ "https://smmoa.org/audio/3718/"^^ . + + + ; + + "The Alphabet of Lili, a suite of twenty-six large-scale drawings in acrylic and charcoal, documented Glier s daily experience of parenting and transformations in his life after he and his wife, Jenny Holzer, moved to a farm in upstate New York to raise their daughter, Lili. Exploring the Cubist proposition that perception is not only vision but also memory, Glier s drawings are the product of periods of sustained observation on a single topic, buffeted by whimsy, emotion, accident, strong ideas, and daily life."^^ ; + + "Mike Glier: The Alphabet of Lili"^^ ; + + . + + + + ; + + . + "Tell Me Something Good"^^ ; . + + + . + + + + ; + + "A survey spanning thirty years of production by one of the key figures in the Pattern and Decoration movement, Parrot Talk was organized by curator and writer Michael Duncan. MacConnel s paintings, sculptures, and collages explore the full range of contemporary visual culture, drawing on everything from Matisse to the Simpsons. Mixing high and low sources with abandon, MacConnel relishes the juxtaposition of modernist images and ideas with their sources in so-called primitive cultures. His works of the 1990s explore the wild mix in Third World countries of traditional artifacts and Western consumer detritus. Drawing on the Western traditions of painting and photography in conjunction with African house-painting patterns and Chinese schoolbook illustrations, MacConnel conjures a genuinely multicultural style."^^ ; + + "Parrot Talk: A Retrospective of Works by Kim MacConnel"^^ ; + + . + "Daniel Cummings"^^ ; . - + + + ; + + "A key artist of his generation, Wallace Berman (1938-1976) was an enigmatic, underground figure whose collages and assemblages articulate an important strand of dark mysticism in post-War American culture. Berman s hand-printed, personally distributed literary journal, Semina (1955-1964) stands as an iconic document of its time. The first major museum exhibition to examine the significance of the charismatic Wallace Berman, Semina Culture: Wallace Berman His Circle featured the complete loose-leaf run of Semina, as well as artworks, photographs, and publications by forty-nine artists that manifest the scope and interests of the new Semina Culture. More than seventy photographic portraits from Berman s archive were also shown for the first time, revealing the close-knit nature of this underground community. These participants in an important emerging counterculture, the Beat movement of the 1950s and 1960s, pursued an alternative way of thinking about the purpose and formal nature of art, infusing their works with nostalgia, lyricism, feeling, and a sense of the ephemeral. They include Robert Alexander, John Altoon, Toni Basil, Paul Beattie, Ray and Bonnie Bremser, Charles Brittin, Joan Brown, Cameron, Bruce Conner, Jean Conner, Jay DeFeo, Diane DiPrima, Kirby Doyle, Bobby Driscoll, Robert Duncan, Joe Dunn, Llyn Foulkes, Loree Foxx, Ralph Gibson, Allen Ginsberg, Billy Gray, George Herms, Jack Hirschman, Dennis Hopper, Billy Jahrmarkt, Jess, Lawrence Jordan, Patricia Jordan, Bob Kaufman, Philip Lamantia, William Margolis, Michael McClure, Taylor Mead, David Meltzer, Henry Miller, Stuart Perkoff, John Reed, Arthur Richer, Rachel Rosenthal, Jack Smith, Dean Stockwell, Ben Talbert, Russel Tamblyn, Aya (Tarlow), Edmund Teske, Zack Walsh, Lew Welch, and John Wieners. For these iconoclasts, art was a joyful and creative expression, not a means to an artworld career. Their approach to the purpose and formal nature of art and culture existed on a vastly different track from the canonical traditions of abstract expressionism, minimalism, and postmodernism. Guest-curated by Michael Duncan and Kristine McKenna, Semina Culture traveled to the Nora Eccles Harrison Museum of Art, Utah State University, Logan, Utah (January 10 March 15, 2006); the Ulrich Museum of Art, Wichita State University, Wichita, Kansas (April 21 July 9, 2006); the University of California, Berkeley Art Museum Pacific Film Archive, Berkeley, California (October 17 December 10, 2006); and The Grey Art Gallery, New York University, New York, New York (January 16 March 31, 2007)."^^ ; + + "Semina Culture: Wallace Berman His Circle"^^ ; + + . + + + + . + + + + ; + + . + + - . + . + + + + ; + + "Jennifer Steinkamp employs existing architectural features in her interactive video installations. In The TV Room, three narrow wall screens were hung horizontally to suggest television scanlines, and an abstract animation was projected on the screens and the walls behind. Steinkamp s images worked in tandem with the audio, composed by Andrew Bucksbarg, to alter viewers experiences according to their location within the space. The work called forth a spatial meeting place between the subjective, singular camera of cinema and the multiplicitous perspectives of abstract painting."^^ ; + + "Public Works: Jennifer Steinkamp in Collaboration with Andrew Bucksbarg: The TV Room"^^ ; + + . @@ -270,33 +296,17 @@ . - - - ; - - "Working in film, video, and installation, Diana Thater has been an innovator in her medium for 20 years and is best known for creating complex visual and spatial environments. Between Science and Magic is a simple, and beautiful, interpretation of movie magic -a century-old expression that still conjures the mythology of Hollywood filmmaking. Thater s project is conceived as a brief history of cinema. Thater s new and innovatory piece recreates, and repositions, a seminal moment in Los Angeles history, when downtown LA was being dreamed into a gilded metropolis and a theater district was built to rival New York s Great White Way. Renowned magician Greg Wilson appears as if filmed within the famed Los Angeles Theatre, the most elaborate of the movie palaces built between 1911 and 1931 on Los Angeles s now-defunct theater row. Thus, the viewer experiences a palpable tension between past and present. The repeated performance of an archetypal magic trick-pulling a rabbit out of a hat-is captured in tones of black, white, and grey; only the magician s skin tone and the rabbit s eyes have a trace of color. A pioneering filmmaker, Thater s work is held in many public collections including the Solomon R. Guggenheim Museum, New York; Tate, London; the Whitney Museum of American Art, New York; the Art Institute of Chicago; and the Museum of Contemporary Art, Los Angeles. She has been the subject of solo exhibitions at such prestigious institutions as the Vienna Secession; The Museum of Modern Art, New York; the Kunsthalle Basel; and The Renaissance Society, Chicago. Most recently, Thater s gorillagorillagorilla-a poignant study of human and animal behavior-was premiered at the Kunsthaus Graz, in collaboration with the Museum of Natural History in London, to celebrate the bicentenary of Charles Darwin s birth. Between Science and Magic is Thater s first solo exhibition in Los Angeles in over 10 years. Support for the exhibition is generously provided by The Broad Art Foundation, The Audrey and Sydney Irmas Charitable Foundation, and The Suzanne Nora Johnson and David Gordon Johnson Foundation."^^ ; - - "Diana Thater: Between Science and Magic"^^ ; - - . - - - - ; - - "Adrian Piper s interdisciplinary work addresses the sociological ramifications of her own mixed racial heritage, using herself as both subject and object. This twenty-year survey, curated by Jane Farver of the Alternative Museum in New York, included drawings, photographs, phototext collages, diaries, mixed-media installations, videotape, and audiotapes."^^ ; - - "Adrian Piper: Reflections, 1967-1987"^^ ; - - . + + + . - + - ; + ; - "An exhibition of the final works by the late visual and performance artist Hannah Wilke, Intra-Venus included large-scale photographs, watercolors, sculptures, and drawings. Wilke s work related to the female nude form an uncompromising record of her own physical deterioration due to lymphoma; central to the exhibit was a series of thirteen larger-than-life-sized portraits. In typical Wilke fashion, the title of these final works, also Intra-Venus, is a pun, referring both to a medical procedure she came to know and to the traditional feminine ideal that was the lifelong focus of her artistic investigation. Intra-Venus was organized by Ronald Feldman Fine Arts, New York, and was accompanied by a catalog."^^ ; + "Agnes Denes: Body Prints, Philosophical Drawings, and Map Projections, 1969 – 1978 is an exhibition of seminal drawings by Land artist Agnes Denes. As an influential pioneer of the Environmental and Conceptual Art movements, Denes’s artistic practice applies the exacting precision and unwavering consistency of mathematics to the often subjective, tenuous, and unstable concepts of ecological awareness and environmental sustainability. The three discrete bodies of work on view at SMMoA demonstrate how Denes marshals the disciplines of geometry, philosophy, cartography, and the physical sciences to create “Visual Philosophy” —her signature method of illustrating how we exist in the world. The exhibition will be on view at SMMoA from September 15 through December 22, 2012. Organized by SMMoA s newly appointed curator-at-large Jeffrey Uslip, Agnes Denes: Body Prints, Philosophical Drawings, and Map Projections, 1969 – 1978 revisits the complex theoretical propositions Denes set forth at the onset of her career. For the past five decades, Denes’s practice has become synonymous with ecologically driven interventions into the landscape and socially driven approaches that symbiotically engage with the environment. Denes’s Body Prints overlay impressions of human breasts and phalluses onto sheets of graph paper to humorously, yet poignantly, transform the body into social critique. In Napoleonic Series: Investigation of World Rulers I Napoleon Overlooking the Elba (1971), Denes transfers the impressions of four penises onto graph paper, creating a sardonic allegory for a, perhaps inadequate, representation of male power. Denes locates this drawing on Elba, the island off the western coast of Italy where Napoleon was first exiled in 1814. By contrast, Design of the Universe (1971) reveals a body print of a female breast morphologically likened to the globe in a more optimistic and fertile projection of the future. Denes’s series of Philosophical Drawings appropriates the veracity of mathematical symmetry and geometric codes to provide shape —a visual logic—to ways of being in the world and visualizing invisible passages of time. Map Projections depicts the globe reconfigured in various spatial distortions and three-dimensional shapes, including seashells, dodecahedrons, ova, cubes, and pyramids. While always academically rigorous, Denes never forgoes her insightful wit: in the drawing Isometric Systems in Isotropic Space Map Projections: The Hot Dog (1976), the world is rendered as an elongated, phallic hot dog. Denes’s method of embedding meaning within the structure of geometric forms allows her to interrogate and undermine issues of representation through Cartesian order. Or more poetically, in Denes’s words, “I love mathematics because I could humanize it, and in turn it gave me perfection and beauty.”  The catalog for this exhibition is made possible by Peter A. Gelles and Eve Steele Gelles and Leslie Tonkonow Artworks + Projects. Major support for Santa Monica Museum of Art exhibitions has been provided by The Andy Warhol Foundation for the Visual Arts. Additional funding has been provided by the City of Santa Monica and the Santa Monica Arts Commission; Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; Dean V. Ambrose; Good Works Foundation and Laura Donnelley; Abby Sher; Rosa and Bob Sinnott; The Audrey and Sydney Irmas Charitable Foundation; Marla and Jeffrey Michaels; Pasadena Art Alliance; and Frederick R. Weisman Art Foundation.  About the artist: Agnes Denes was born in Budapest, Hungary in 1931, raised in Sweden, and educated in the United States. She has participated in solo exhibitions at the Corcoran Gallery of Art, Washington, DC (1974); the ICA, London (1979) and retrospective surveys at the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY (1992); the Samek Art Gallery, Bucknell University, Lewisburg, PA (2003); and the Ludwig Museum, Budapest, Hungary (2008). Her work has been featured in international surveys including the Biennale of Sydney (1976); Documenta 6, Kassel, Germany (1977); the Venice Biennale (1978, 1980, 2001), and more recently The Last Freedom: From the Pioneers of Land Art of the 1960s to Nature in Cyberspace, Ludwig Museum, Koblenz, Germany (October 16, 2011); Systems, Actions Processes: 1965 – 1975, PROA Foundation, Buenos Aires (through September, 2011); Erre: Variations Labyrinthiques, Centre Pompidou, Metz (September 12, 2011 – March 5, 2012); and Light Years: Conceptual Art and the Photograph: 1964 – 1977, Art Institute of Chicago (December 11, 2011 – March 11, 2012). About the curator: Jeffrey Uslip (b. 1977) is a New York-based independent curator, who has organized exhibitions for PS1/MOMA, New York, Artists Space, New York, Columbia University’s Graduate School of Arts and Sciences, California State University, Los Angeles, and LAXART, Los Angeles. He is an online contributor to Art Forum, has lectured at the Whitney Museum of American Art, and is currently a doctoral candidate at The Institute of Fine Arts, New York University."^^ ; - "Hannah Wilke: Intra-Venus"^^ ; + "Agnes Denes: Body Prints, Philosophical Drawings, and Map Projections, 1969 – 1978"^^ ; . @@ -306,43 +316,49 @@ . - + + + ; - "INCOGNITO, Santa Monica Museum of Art’s highly anticipated annual art exhibition and benefit sale, will return for its sixth year on Saturday, May 1, 2010. Attendees—from sophisticated art supporters to first-time collectors—are encouraged to trust their instincts to guide their selections, as works are signed on the back and artist identities are revealed only after purchase. Doors open 7pm sharp Music by DJ Jason Bentley, KCRW Music Director Cocktails Food by Lene All works 8 x 10 $300 (+ tax) Signed on the back Artist identity revealed only after purchaseINCOGNITO 2010 Committee Price Latimer Agah, Michael Briggs, Charlotte Eyerman, Andrea Feldman Falcione, Veronica Fernandez, Alexandra Gaty, Justin Gilanyi, Heather Harmon, Bettina Korek, Kris Kuramitsu, Kim McCarty, David Montalba, Bruce Samuels, MD, Colette Shelton, Dr. Leigh Silverton, V. Joy Simmons, MD, Andrew Stearn, Jeffrey UslipTickets and PackagesCognoscenti $5,000 ($4,280 tax deductible) • 4 event tickets • 2 vouchers for artworks • Invitation for 4 to private tour with Nancy Rubins at her Topanga studios. Saturday, April 24 at 10:30 am followed by luncheon • Invitation for 4 to champagne preview (Thursday, April 29, 6:30 – 8:00 pm) • Expedited check-in and priority entrance • 2 exclusive INCOGNITO Messenger Bags • Prominent title wall, print and online recognition • Reserved parking for 2 cars • Donor recognition for Park Studio, SMMoA’s Signature spring break outreach program, and sponsorship of 1 Park Studio student artist to attend INCOGNITOBenefactor $1,500 ($1,200 tax deductible) • 2 event tickets • 1 artwork voucher • Invitation for 2 to champagne preview (Thursday, April 29, 6:30 – 8:00 pm) • Expedited check-in and priority entrance following Cognoscenti • Print and online recognition • Reserved parking for 1 car Patron $600 ($300 tax deductible) • 2 event tickets • 1 artwork voucher • Priority entrance immediately following Benefactors Supporter $100 ($100 tax deductible) • 1 event ticket • Entrance following Patrons ($150 at the door) INCOGNITO 2010 Sponsors 89.9 KCRW ForYourArt Malibu Family Wines Pura Casta Tequila Room Board Home Furnishings INCOGNITO 2010 Participating Artists (As of April 9, 2010) Luciana Abait, Kim Abeles, Lisa Adams, Nick Agid, Cathy Akers, Lita Albuquerque, Cynthia Alexander, Rachel Allen, Terry Allen, Jami Allen-Snyder, Sophia Allison, Fumiko Amano, Kathryn Andrews, Eleanor Antin, Carolyn D. Applegate, Edgar Arceneaux, Skip Arnold, Charles Arnoldi, Dawn Arrowsmith, Joshua Aster, Chad Attie, Lisa Anne Auerbach, Don Bachardy, Donald Baechler, Hilary Baker, John Baldessari, Glen Baldridge, Kate Barclay, Miyoshi Barosh, Mely Barragán, Kelly Barrie, Ray Barrie, Judith Barry, Edith Beaucage, Martin Beck, Tina Beebe, Larry Bell, Quinton Bemiller, Neil Bender, Maura Bendett, Tom Benedek, Lynda Benglis, Billy Al Bengston, Cindy Bernard, Jodie Berry, Guillermo Bert, Hisham Akira Bharoocha, Brian Biedul, Joe Biel, Alvaro Blancarte, Dan Bohbot, Jill Bonovitz, Derek Boshier, Janet Bothne, Katy Kristin Bowen, Jennifer Boysen, Mark Bradford, Leonardo Bravo, Brian Bress, Kimberly Brooks, Stephanie Brooks, Edgar Bryan, David Buckingham, Jeremy Burleson, Bruce Busby, Matty Byloos, Kristin Calabrese, Huguette Caland, Joshua Callaghan, Jo Ann Callis, Jane Callister, Clayton Campbell, Barbara Carrasco, Karen Carson, Carter Carter, Richard Carter, Cole Case, Enrique Castrejon, Jennifer Celio, Corinne Chaix, Matt Chambers, Jeff Charbonneau Eliza French, Daniel Chavira, Nicole Cherubini, Marc Chiat, Tofer Chin, Clayton Brothers, George Comer, Brian Cooper, Michael Coughlan, Eileen Cowin, Lori Cozen-Geller, Liz Craft, Thomas Alan Cronk, Hugo Crosthwaite Studio, Krysten Cunningham, Jay Davis, Len Davis, Woods Davy, Tony de los Reyes, Mara De Luca, Michael Dee, Steve DeGroodt, Tony DeLap, Jane Dickson, Ann Diener, Guy Dill, Laddie John Dill, Kim Dingle, Tomory Dodge, Mimi Drop, Sean Duffy, Barry Dukoff, Anna Dusi, Mark Dutcher, Mari Eastman, Brad Eberhard, Jonmarc Edwards, Ashley McLean Emenegger, Elizabeth Enders, Noah Erenberg, Sam Erenberg, Timothy Ernst, Ned Evans, Kirsten Everberg, Betsy Everitt, Bart Exposito, Mollie Favour, Diane Fenster, Carolyn Fernandez, Bruria Finkel, Chris Finley, Ed Flynn, Kianga Ford, Simone Forti, Andrew Foster, Brendan Fowler, Jona Frank, Bryan Freeny, Sarah Frost, Gajin Fujita, Caroline Furr, Joe Fyfe, Francesca Gabbiani, Charles Gaines, Steve Galloway, Corina Gamma, Helen Garber, Helen K. Garber, Rico Gatson, Jordan Gaunce, Megan Geckler, Milton Glaser, Gustavo Godoy, Sayre Thomas Gomez, Marcelino Gonçalves, Yolanda Gonzalez, Joe Goode, Penelope Gottlieb, Timothy Granlund, Alexandra A. Grant, John Grauman, Cameron Gray, Phyllis Green, Mark Steven Greenfield, Maria Greenshields-Ziman, Alvin Gregorio, Logan Grider, Margaret Griffith, Iva Gueorguieva, Jennifer Guidi, Sherin Guirguis, Mary Addison Hackett, Eulilia Halloran, Nancy Jean Hancock, Lynn Hanson, Kira Lynn Harris, Willie Harris, Karen Harter, Doug Harvey, Hock e aye vi Edgar Heap of Birds, Deborah Hede, Drew Heitzler, Matthew Heller, David Hendren, Brandon Herman, Roger Herman, George Herms, Pixie Herms, Juan Carlos Muñoz Hernandez, Gilah Yelin Hirsch, Asuka Hisa, Julian Hoeber, Susan Holcomb, Loren Holland, Violet Hopkins, Channa Horwitz, Bettina Hubby, David Huffman, Salomón Huerta, Sara Hunsucker, Dusadee Huntrakul, Eva Hyam, Mac James, Max Jansons, Ellen Jantzen, Michael Jantzen, JC Jaress, Danny Jauregui, Gabriel Johnson, Larry Johnson, Robert Johnson, Vincent Johnson, Joan Jonas, Michael Joo, Gegam Kacherian, Sharon Kagan, Yoichi Kawamura, Veronika Kellendorfer, Szajna Kellman, Mary Kelly, Arnold J. Kemp, Brian Kennon, Kristi Kent, Martin Kersels, Soo Kim, Linda King, Bill Kleiman, Patricia Knop, Christof Kohlhofer, Alice Könitz, Olga Koumoundouros, Tom Kovachevich, Joyce Kozloff, Alan Kupchick, Aitor Lajarin, Suzy Lake, Lauren Lavitt, Diane Lavoie, Brendan Leech, Tom Leeser, Joshua Levine, Les Levine, Robert Levine, Sharon Levy, John Oliver Lewis, Glenn Ligon, Won Ju Lim, Clarence Lin, Jed Lind, Chris Lipomi, Annabel Livermore, Jay Lizo, Sharon Lockhart, Karen Lofgren, William Longhauser, Mara Lonner, Renée Lotenero, Richard Louderback, Jean Lowe, Heriberto Luna, Eva Lundsager, Mela M., Kim MacConnel, Nancy Macko, Chris Madans, Constance Mallinson, Daniel Maltzman, Becca Mann, Summer Mann, Ana Marini-Genzon, Adam Marnie, Hudson Marquez, Luigia Martelloni, Taras Matla, Thom Mayne/Morphosis Architects, Jessica McCambly, Kim McCarty, David McDonald, Mercedes McDonald, Kelly McLane, Michael C. McMillen, Rodney McMillian, James McNulty, Blue McRight, Rob Mellor, Thom Merrick, Arnold Mesches, Tom Millea, John Millei, Brad Miller, Greg Miller, James Miller, Robin Mitchell, Ginette Mizraki, Bobbie Moline-Kramer, Nancy Monk, Lester Monzon, Dominique Moody, Mary More, Jim Morphesis, Rebecca Morris, Aaron Morse, Andy Moses, Ed Moses, Joshua Mosley, Sandeep Mukherjee, Dave Muller, Mario M. Muller, Manfred Müller, Thomas Müller, Hillary Mushkin, Barbara Nathanson, Tucker Neel, Ruby Neri, Charles Nickila, Jessica Nicol, Leonard Nimoy, Yarg Noremac, Laurie Nye, Odili Donald Odita, Matthew Offenbacher, Saelee Oh, Chris Oliveria, Pat O’Neill, Yoko Ono, Catherine Opie, Ed Osborn, Ruby Osorio, Edward Carlo Pacio, Rosieta Pardo, Izhar Patkin, Emilio Chapela Perez, Luciano Perna, Renee Petropoulos, Raymond Pettibon, Margaret Pezalla-Granlund, Francis Pezza, Vidal Pinto, Paul Pitsker, Plasticgod, Bruce Pollock, Lori Precious, Astrid Preston, Monique Prieto, Yuval Pudik, Antonio Puleo, Rosamond Purcell, Jonathan Pylypchuk, Bill Radawec, Elsa Rady, David Reed, Miles Regis, Roland Reiss, Marco Rios, Ellwood T. Risk, Lynn Robb, John Robertson, Walter Robinson, Steve Roden, Ana Rodriguez, Artemio Rodriguez, Michael A. Rosenfeld, Rachel Rosenthal, Erika Rothenberg, Melanie Rothschild, Daniel Ruanova, Nancy Rubins, Kathy Rudin, Allen Ruppersberg, Ed Ruscha, Eddie Ruscha, Sharon Ryan, Alison Saar, Betye Saar, Lezly Saar, Souther Salazar, Gwen Samuels, Adrian Sanchez, Ruth San Pietro, Eduardo Sarabia, Julião Sarmento, Larry Scharf, Christoph Schmidberger, Carolee Schneemann, Kim Schoen, Kim Schoenstadt, Barbara Schwan, Josh Schweitzer, Chloe Sells, Lisa Semler, Shelter Serra, Marie Sester, Claudio Sgaravizzi, Peter Shire, Elena Mary Siff, Richard David Sigmund, Doni Silver Simons, Elias Sime, Kristina Simonsen, Elizabeth Simonson, Anna Simson, Alex Slade, Rena Small, Ali Smith, Joe Sola, Mariangeles Soto-Diaz, Alyson Souza, Brad Spence, Jeni Spota, Andréa Stanislav, Randi Malkin Steinberger, Coleen Sterritt, Mary Clare Stevens, Jennifer Steinkamp, Whitney Stolich, Roni Stretch, Dean Styers, Don Suggs, May Sun, Ricky Swallow, Ami Tallman, Henry Taylor, Mickalene Thomas, Mark Todd, Timothy Tompkins, Ibojka M. Toth, David Trulli, Shirley Tse, Brian Tucker, Carrie Ungerman, Miller Updegraff, Migdalia Valdes, Bob Van Breda, Lesley Vance, Jennifer Vanderpool, Mark Verabioff, Ariane Vielmetter, Tyler Vlahovich, Catherine Wagner, Keith Walsh, Gary Ward, Esther Pearl Watson, Mary K. Weatherford, Marnie Weber, Ruth Weisberg, Jeffrey Wells, Brett Westfall, Ben White, Pae White, Edward Walton Wilcox, Robert Williams, Brian Wills, Lyn Winter, Steven Wolkoff, Suzan Woodruff, Miriam Wosk, Tom Wudl, Leslie Yagar, Rosha Yaghmai, Liat Yossifor, Kent Kevin Young, Brenna Youngblood, Buzz Yudell, Eric Zammitt, Jody Zellen, Bari Ziperstein, Kevin Zucker, Sarah Zwerling Artist participation is by invitation only."^^ ; + "Andrew Lord is a British artist working in New York and the Netherlands, who, from his earliest exhibitions in the late 1970s, has explored sculptural and pictorial concerns through clay, plaster, beeswax, bronze, video, drawing, and printmaking. Lord s work transforms sensation into physical form charged with emotion, reflection, physical identity, and personal history. In Lord s exhibition for SMMoA, elements from five series of works represent developments in his oeuvre from the 1990s to the present day. Breathing, biting, swallowing, tasting, smelling, listening, watching is a landmark series of forms (1992-1998) in which Lord transforms abstract sensation into material form by molding his own body into clay with repeated applications of his chest, teeth, neck, nostrils, ears and eyes. By using his body as a tool, he translates the senses hearing, seeing, tasting, feeling from their liminal states into tactile and visual objects. In another series round, modeling, marking, touching and holding, pressing and squeezing, palm, fist Lord explores the sculptural variations made by the actions and gestures of his hands. In untitled series (2004), Lord observes and rebuilds the ceramics of Paul Gauguin, who has been a pivotal influence for him since the 1970s. Lord s untitled series explores Gauguin s enigmatic narrative in clay, of figures emerging from a natural landscape or engaged in everyday activity. More recently in Whitworth (2009), Lord built a series of clay sculptures that record the monuments, landscapes and people of his birthplace Whitworth, in Lancashire, England. In these works he uses memory as a sense in itself, giving it three-dimensional form. By imbuing the act of remembering with corporeal potential, Lord creates a sculptural map of the town, navigating his personal history through the recognizable landmarks of Whitworth s geography. Lord is also creating river Spodden at Healey Dell, a new series of plaster and beeswax sculptures that depict abstracted elements of the river on its rocky course through Whitworth. A video of the same name, made in 2008, accompanies the sculptures. Lord studied at Rochdale College of Art, England and later at the Central School of Art and Design, London. His work is in the collections of the Art Institute of Chicago; the Museum of Modern Art, New York; Stedelijk Museum, Amsterdam; Museum Boijmans van Beuningen, Rotterdam; and The Carnegie Museum of Art, Pittsburgh, PA. Lord has had solo exhibitions at Galerie Art Project, Amsterdam; The Carnegie Museum of Art; Camden Arts Centre, London; and Rijksmuseum Twenthe, Enschede. His work has been included in Westkunst-Heute at the Museen dr Stadt, Köln; the 1995 Whitney Biennial; Site and Insight at PS1, New York; and The Third Mind at the Palais de Tokyo, Paris. SMMoA is collaborating with Milton Keynes Gallery in England on the production of a major catalogue that features an interview between Lord and James Rondeau (Curator, Frances and Thomas Dittmer Chair of Contemporary Art, The Art Institute of Chicago), and an essay by independent curator and scholar, Linda Norden. The combined exhibitions at SMMoA and Milton Keynes Gallery will comprise a comprehensive survey of Lord s work. The exhibition curator for Andrew Lord: between my hands to water falling, selected works from 1990 to 2010 is Elsa Longhauser, SMMoA Executive Director. Major support is generously provided by The Andy Warhol Foundation for the Visual Arts, Abby Sher, the Frederick R. Weisman Foundation, and Gladstone Gallery"^^ ; - "INCOGNITO 2010"^^ ; + "Andrew Lord: Between My Hands to Water Falling, Selected Works from 1990-2010"^^ ; . - + - ; + ; - "Born in Tel Aviv, Israel, and now working in Paris, Arik Levy is an industrial designer who finds inspiration in the elements and natural forms. Levy has also created stage designs for contemporary dance and opera that illustrate his passion for space, exchange and the relationship to the body. His company L Design was founded with partner, graphic designer Pippo Lionni, and encompasses product development, packaging, signage, visual identity, lighting, store and interior design. Their strikingly creative projects in lighting and furniture are produced for Ligne Roset, L`Oreal, Boucheron, Renault, and Vitra. Levy`s work for SMMoA`s Project Room consists of two flower-like chandeliers, one red, one blue, made of very thin fluorescent tubes and hanging from a long wire. These fragile, tiny, bulbs hang over a stainless steel table in the form of a log, reflecting off its facets the colored light of the chandeliers above. After attending Art Center Europe in Switzerland where he studied the history of design, Levy received a diploma in industrial design in 1991. He is also the winner of the Seiko Epson Inc. contest. Levy participated in the 2005 group exhibition at MoMA, Safe: Design Takes on Risk with his bulletproof jacket made from swan feathers, garnering accolades from within the international design community.  As a designer, technician, artist, photographer, and filmmaker, Levy`s multi-disciplinary skills have been shown in prestigious galleries and museums worldwide, including Wright20 Gallery, Chicago; Moss Gallery, New York; Victoria Albert Museum, London; Centre Georges Pompidou, Paris; the Israel Museum in Jerusalem; and the Museum of Modern Art in New York. Support for the exhibition is generously provided by The Philip and Muriel Berman Foundation."^^ ; + "The intersection of art and science comprises Rosamond Purcell s gesamtkunstwerk; Two Rooms is the culmination of this life-long inquiry. Purcell s photographs and installations celebrate the beauty and recast the meaning of even the most mundane objects, creating lush visual tableaux and intricate microcosms out of everything from old books and scrap metal to teeth and stones. Two Rooms offered large-scale recreations of two collections, one historical, that of seventeenth-century natural philosopher Olaus Worm (1588-1654), the other contemporary, that of Purcell s found objects. Though both were compiled by avid collectors, each was amassed for different reasons Worm s to explain, define, and categorize the world; Purcell s to question those very classifications. This was the first major installation of her work in the United States."^^ ; - "Arik Levy: Luminescence"^^ ; + "Rosamond Purcell: Two Rooms"^^ ; . - - - . - - - - . + + + ; + + "Park Studio is the Santa Monica Museum of Art s signature free outreach program offered to neighborhood high school students during spring break. This year, SMMoA s Park Studio collaborates with the LA Opera for Ring Festival LA, which runs from April 15 to June 30, 2010. An exhibition of student work inspired by the themes of Richard Wagner s opera, Der Ring des Nibelungen, entitled Park Studio: RING, will be on view at SMMoA from May 15 through August 21, 2010. Park Studio is developed and organized by Asuka Hisa, SMMoA`s Director of Education. This summer, LA Opera unveils the first complete performances of Richard Wagner`s Ring Cycle ever presented in Los Angeles. In celebration of this monumental event, LA Opera has joined forces with Los Angeles cultural and educational institutions to stage the first significant citywide cultural festival since the 1984 Olympic Arts Festival. SMMoA s partnership with the LA Opera for Ring Festival LA aligns with the goals of the Park Studio program. For Park Studio: RING, approximately twenty high school students will learn about Richard Wagner s seminal work and explore the symbolism of the ring in the opera power, jealousy, desire which has parallels in today s culture. They will participate in Ring Cycle discussions with SMMoA s educators, collaborating artists, and guest speakers, visit the backstage of the LA Opera, and enjoy a dress rehearsal of Götterdämmerung. Finally, with the help of environmental artist Gordon Bowen and his Arts ReFoundry Atelier (a portable foundry made completely from recycled materials), students will interpret the meaning and power of the ring to cast their own original bronze ring-shaped sculptures. The exhibition of the student s bronze works will be displayed at SMMoA from May 15 to August 21, 2010. Park Studio takes interdisciplinary art education outside museum walls and into the community. This free program is held annually during the spring break, when contemporary artists lead workshops, art history lessons, and field trips to cultural sites. Park Studio is open to high school students residing or attending school in the Santa Monica Malibu Unified School District. Students enrolled at Santa Monica`s Olympic High School, a continuation school, may receive a full semester credit toward earning their high school diploma. SMMoA presents this program in partnership with the City of Santa Monica Cultural Affairs Department and the Teen Center at Virginia Avenue Park. For over 10 years, Park Studio has provided unforgettable and formative experiences for teens. Through transformative experiences of art making and collaboration with established artists and organizations, participants gain access to ideas and opportunities that have the potential to shape their adult lives."^^ ; + + "Park Studio: RING"^^ ; + + . - + - . + . - - - . + + + "Kim Abeles"^^ ; + + . - + - . + . @@ -350,11 +366,15 @@ "https://smmoa.org/audio/project-room-khalif-kelly-electronicon/"^^ . - - - "Kim Abeles"^^ ; + + + ; + + "Crossings was a mixed-media installation using a single, repeated object a plaster cast of an army cot that was multiply reproduced and recontextualized. The resulting constructions conjured images of Arlington Cemetery, Leni Riefenstahl, a bombed city seen from the air, hospital wards, troop ships, and public homeless shelters."^^ ; + + "Lilla Locurto: Crossings"^^ ; - . + . @@ -362,39 +382,83 @@ "https://smmoa.org/video/stephen-keenes-art-marathon-at-smmoa/"^^ . - - - "Breaking Barriers"^^ ; + + + ; + + "Identity Theft was the first show to feature the early, pioneering work of Eleanor Antin, Lynn Hershman, and Suzy Lake, artists who developed alter egos or false identities in photographs, videos, on stage, and in real-life performances. Conceived and guest-curated by Jori Finkel, the exhibition explored the history of role-playing in contemporary art through works created during the heyday of feminism. Identity Theft marked a number of milestones in the exposition of these artists works: the first-ever full presentation of Hershman s Roberta Breitmore project; the first screening of Antin s The Nurse and the Hijackers since September 11, 2001, when the disaster movie spoof (set on an airplane) was pulled from an exhibition in England; and the first U.S. showing of Lake s groundbreaking Transformations series since their 1975 debut. The exhibition included more than 100 photographs, videos, sculpture, and ephemera. In San Francisco in 1974, Lynn Hershman donned a wig and adopted a particular set of gestures to create an alter ego named Roberta Breitmore, a fictional character who grew so real over the years that she acquired her own driver s license, apartment, and romantic encounters. She also went to Weight Watchers, EST seminars, and psychotherapy. Hershman alternately describes Roberta as the underbelly of her own personality and a mirror held up to her culture. In Southern California starting in 1972, Eleanor Antin gave birth to three selves : a king, a ballerina, and a nurse, which she compared to Jungian archetypes. First, she painstakingly applied a beard and took to the streets of Solana Beach as a king attending his peoples. She next became her idealized female self a classical ballerina, practicing her technique every day so she could quasi-legitimately play the role in staged and taped performance. Later, in photographs and videos, she brought to life two different kinds of nurses: a flirtatious nurse worthy of any soap opera and a historical figure inspired by Florence Nightingale. Meanwhile, in Montreal, Detroit-born artist Suzy Lake investigated the cultural construction of character by trying on various roles for size. She posed as a glamorous fashion model for one series, which took the form of a slideshow (1972-75). She borrowed the facial features of her friends for another, which consists of large-scale pre-Photoshop manipulated photographs called Transformations (1974). She also applied cosmetics directly to the surface of photographic prints, recognizing makeup as the oil paint of the day, and her face as the canvas. Together, Antin, Hershman, and Lake were pioneers of what art critic Kim Levin once called the high-risk art of self-transformation. Their work challenged fixed notions of identity and femininity, raising questions of who we are and whom we can pass as. They combined acting skills with more traditional artmaking techniques to document their double lives in detail. They relied above all on the medium of photography, paving the way for conceptual artists to come, from Cindy Sherman to Nikki S. Lee."^^ ; + + "Identity Theft: Eleanor Antin, Lynn Hershman, Suzy Lake, 1972-1978"^^ ; - . + . - - - "Lisabeth Davidow and Megan Williams"^^ ; + + + "International in scope, this exhibition brought together works by twenty-eight contemporary artists exploring the imagery of puppets in sculpture, film, video, time-based media, animation, and 2D work. Participating artists included Guy Ben-Ner, Nayland Blake, Louise Bourgeois, Maurizio Cattelan, Anne Chu, Nathalie Djurberg, Terence Gower, Dan Graham, Christian Jankowski, Mike Kelley, William Kentridge, Cindy Loehr, Annette Messager, Paul McCarthy, Matt Mullican, Bruce Nauman, Dennis Oppenheim, Philippe Parreno and Rirkrit Tiravanija, Thomas Schütte, Doug Skinner and Michael Smith, Laurie Simmons, Kiki Smith, Survival Research Laboratory, Kara Walker, and Charlie White. The Puppet Show took as its historic point of departure a great work of European avant-garde art history: Alfred Jarry s 1896 play Ubu Roi, which was originally conceived as a puppet show. The despotic King, who strode on stage roaring the French scatological word merdre, is the perfect source for all puppet allegories of grotesque government and acts of puppet transgression. More recently, puppets have taken hold of popular consciousness. They show up on stage, on television, in film, and even online, where assuming a fake identity to garner public opinion is called sock-puppeting. Seen in correspondence with these pop culture images, the works in The Puppet Show advanced the question: Why do puppets matter now? The Puppet Show installation included works by participating artists as well as a collection of historic puppets, which were housed in Puppet Storage the exhibition s simultaneous entry and backstage or unconsciousness."^^ ; + + "The Puppet Show"^^ ; - . - - - - . + . - + + + "INCOGNITO, SMMoA s legendary exhibition and art sale, enhanced by the first-ever PRECOGNITO Gala and Preview. Click here to access the INCOGNITO REVEALED 2012 website. PRECOGNITO  Thursday, March 15, 7 10 pm Three hundred artists, celebrities, and art connoisseurs feted the Santa Monica Museum of Art and honored philanthropist and collector Eileen Harris Norton, artist Paul McCarthy, and founder of the Bergamot Station Arts Center Wayne S. Blank at SMMoA s inaugural PRECOGNITO Gala and Preview on Thursday, March 15. Guests were encouraged to trust their instincts as they surveyed the 700 artworks for sale at the Museum s eighth annual INCOGNITO on Saturday, March 17. The lively three-hour event featured a cocktail hour, an elegant sit-down dinner with Food by Lene, music by Cassie Coane and Harley Viera-Newton, and a wide range of libations from Patron, Malibu Family Wines, and POM Wonderful. One hundred percent of the proceeds will benefit SMMoA s highly acclaimed exhibitions, education, and outreach programs. Tribute to Eileen Harris Norton by Mark Bradford Tribute to Paul McCarthy by Mara McCarthy Tribute to Wayne Blank by Craig Krull INCOGNITO Saturday, March 17, 7 10 pm INCOGNITO, Southern California s legendary annual art exhibition and benefit sale, exceeded previous successes when it returned for its eighth year to the Santa Monica Museum of Art on Saturday night, March 17. The benefit sale offered a record 700 works by 500 artists and raised $500,000 for the Museum s highly acclaimed exhibitions and education programs. More than 600 art enthusiasts, artists, actors, and filmmakers mingled and studied the work during the lively three-hour event. This year saw an extraordinary level of participation from iconic and emerging artists in Los Angeles and worldwide. Each artist donated at least one work in an 8 x 10 format, and all were sold for the same low price of $350 each. Patrons were encouraged to trust their instincts to guide their selections, as all works are signed on the back and artist identities are not revealed until after purchase. A celebratory reception featuring music by DJs Cassie Coane and Harley Viera-Newton, included delicious hors d oeuvres from Food by Lene, and a wide range of libations by Patron, Malibu Family Wines, Pressed Juicery, and POM Wonderful. Media sponsors were Los Angeles Magazine and KCRW 89.9 FM. One hundred percent of the proceeds will benefit SMMoA s highly acclaimed exhibition, education, and outreach programs. (For the list of this year s participating artists, please scroll down.) INCOGNITO 2012 Committee: Price Latimer Agah (Committee Chair), Claressinka Anderson, Matt and Abby Bangser, Nancy Chaikin, Max Chow, John Cournoyer, Charlotte Eyerman, Laura Fried, Alejandro Gehry, Francois Ghebaly, Justin Gilanyi, Jean-Christophe Harel, Heather Harmon, Gail Katz, Jordan Klein, Nancy Klein, Bettina Korek, Mills Moran, Ragna Nervik, Bruce Samuels, MD, Leigh Silverton. Luminary Supporters Good Works Foundation and Laura Donnelley, Eileen Harris Norton, Hauser Wirth, The John Marilyn Wells Family Foundation, Randi and Harlan Steinberger Visionary Supporters Shoshana and Wayne S. Blank, The Audrey and Sydney Irmas Charitable Foundation, Frederick R. Weisman Art Foundation Cognoscenti Supporters Dean V. Ambrose, Claressinka Anderson, Anonymous, James Costos and Michael S. Smith, Samuel Freeman, Peter A. Gelles and Eve Steele Gelles, Susie and Jaime Gesundheit, Janet Langdon Handtmann, Gail Katz and Bruce Wessel, Suzanne Ric Kayne and Jenni, Maggie Saree Kayne Foundation, Nancy and Howard Klein, Marla and Jeffrey Michaels, Yasmine Mohseni, Shulamit Nazarian and Bruce Adlhoch, David Nochimson, Abby Sher, V. Joy Simmons, M.D., Rosa and Bob Sinnott, L+M Arts, LA, Leslie White and Al Limon Benefactor Supporters Price Latimer Agah and Salman Agah, Jan Belson, Anonymous, Jan and Dan Black, Bulgari Corporation, Steve Buxbaum and Emily Newman, Jeff Davis, Jonathan Dayton and Valerie Faris, Virginia Desmond, Peg Donegan, Barbara Dunn, William Escalera and Francisco George, Emily and Teddy Greenspan, The Broad Art Foundation, The Kirkeby Foundation, Bettina Korek, Larry Layne and Sheelagh Boyd, Susan Morse, Dr. and Mrs. Alexander Raskin, David A. and Karen Richard Sachs, Dr. Leigh Silverton, Jennifer Simchowitz, Creative Artists Agency, Steve and Jan Winston Friends of SMMoA Steven M. Back, Jill and Jay Bernstein, Los Angeles Ballet, Kayne Anderson Capital, Advisors Foundation, Olga Garay and Kerry English, Bob and Linda Gersh, Jill Grey, Jana and Terry Hackett, Callie and Gregory Irvin, Claudia Kahn and Anthony Foux, Susan Bay Nimoy and Leonard Nimoy, Brenda R. Potter, United Talent Agency, Linda and Tony Rubin, Richard and Belinda Teitel, Jocelyn Tetel, Jill and John Walsh, Courtney and Peter Wyman INCOGNITO 2012 Participating Artists: Luciana Abait, Lillian Abel, Kim Abeles, Lisa Adams, Simone Adels, Amy Adler, Nick Agid, Cathy Akers, Lynn Aldrich, Cynthia Alexander, Irina Alimanestianu, Rachel Allen Architecture, Jami Allen-Snyder, Sophia Allison, Ricky Allman, Marcos Alvarez, Fumiko Amano, Michelle Andrade, Eleanor Antin, Carolyn Applegate, Skip Arnold, Alejandro Artigas, Chad Attie, Don Bachardy, Donald Baechler, Hilary Baker, John Baldessari, Glen Baldridge, Devendra Banhart, Miyoshi Barosh, Ray Barrie, Kelly Barrie, Lyndon Barrois Jr., Judith Barry, Gary Baseman, Justin Beal, Edith Beaucage, Martin Beck, Drew Beckmeyer, Quinton Bemiller, Adam Berg, Cindy Bernard, Jodie Berry, Guillermo Bert, Brian Biedul, Joe Biel, Colby Bird, Heimir Björgúlfsson, Dany Bohbot, MB Boissonnault, Lisa Borgnes, Derek Boshier, Janet Bothne, Katy Kristin Bowen, Andrea Bowers, Mark Bradford, Marco Brambilla, Leonardo Bravo, Brian Bress, Calef Brown, Gary Frederick Brown, Elizabeth Bryant, David Buckingham, Bruce Busby, Nao Bustamante, A. Butzer, Kristin Calabrese, Ingrid Calame, Huguette Caland, Joshua Callaghan, Jo Ann Callis, Jane Callister, Scott Campbell, Clayton Campbell, Giorgio Carlevaro, Barbara Carrasco, Karen Carson, Carter Carter, Jamison Carter, Richard Carter, Cole Case, Enrique Castrejon, Corinne Chaix, Matthew Chambers, York Chang, Michael Chearney, Judy Chicago, Tofer Chin, Bruce Cohen, Jeff Colson, Greg Colson, Laura Copelin, Michael Coughlan, Eileen Cowin, Liz Craft, Thomas Alan Cronk, Hugo Crosthwaite, Daniel Cummings, Dorit Cypis, Len Davis, Jay Davis, Woods Davy, Mara De Luca, Fabian Debora, Michael Dee, Steve DeGroodt, Tony DeLap, Neil M. Denari, Helen DeSanctis, Will Deutsch, Ann Diener, Guy Dill, Alex Dodge, Tomory Dodge, Mimi Drop, Sam Durant, Anna Dusi, Mark Dutcher, Addoley Dzegede, Mari Eastman, Jonmarc Edwards, A. McLean Emenegger, Elizabeth Enders, Noah Erenberg, Merion Estes, Ned Evans, Kirsten Everberg, Betsy Everitt, Bart Exposito, Shepard Fairey, Mollie Favour, Carolyn Fernandez, Bruria Finkel, Ed Flynn, Simone Forti, Andrew Foster, Jona Frank, Bryan Freeny, Terri Friedman, Sarah Frost, Gajin Fujita, Barnaby Furnas, Caroline Furr, Joe Fyfe, Francesca Gabbiani, Charles Gaines, Steve Galloway, Harry Gamboa Jr., Helen K. Garber, Jordan Gaunce, Megan Geckler, Alejandro Gehry, Michael Genovese, Ana Marini Genzon, Susan Gesundheit, Christopher Glancy/COV, Milton Glaser, Shirley Glass, Jimi Gleason, Sayre Gomez, Marcelino Gonçalves, Yolanda Gonzalez, Penelope Gottlieb, Rives Granade, Timothy Granlund, Alexandra Grant, Cameron Gray, Phyllis Green, Mark Steven Greenfield, Maria Greenshields-Ziman, Alvin Gregorio, Margaret Griffith, Jennifer Guidi, Karin Gulbran, Wade Guyton, Mary Addison Hackett, Lia Halloran, Lloyd Hamrol, Nancy Jean Hancock, Janet Langdon Handtmann, Lynn Hanson, Willie Harris, Joseph Hart, Adam Harteau, Karen Harter, Cynthia Hartling, Doug Harvey, Edgar Heap of Birds, Drew Heitzler, Wendy Heldmann, Matthew Heller, David Hendren, Roger Herman, Pixie Herms, George Herms, Juan Carlos Muñoz Hernandez, Katie Herzog, Gilah Yelin Hirsch, Susan Holcomb, Loren Holland, Evan Holloway, Violet Hopkins, Channa Horwitz, Anna Sew Hoy, Bettina Hubby, Darcy Huebler, Dusadee Pang Huntrakul, Eva Hyam, Carmine Iannaccone, Mac James, Max Jansons, Ellen Jantzen, Michael Jantzen, JC Jaress, Amparo Jelsma, Dane Karl Johnson, Vincent Johnson, Robert Johnson III, Michael Joo, Jow, Gegam Kacherian, Cindy Kane, Yoichi Kawamura, Szajna Kellman, Veronika Kellndorfer, Mary Kelly, Brian Kennon, Kristi Kent, Aragna Ker, Martin Kersels, Steve Kim, Linda King, Bill Kleiman, Patricia Knop, Dennis Koch, Christof Kohlhofer, Melissa A. Kojima, Olga Koumoundouros, Thomas Kovachevich, Greg Kozaki, Joyce Kozloff, Alex Kroll, Marcus Kuiland-Nazario, Alan Kupchick, Robert Kushner, Tom LaDuke, Suzy Lake, Maddy Le Mel, Rick Legorreta, Mark Lere, Tom Leeser, Robert Levine, Joshua Levine, Caryl Christian Levy, John Oliver Lewis, Won Ju Lim, Clarence Lin, Jed Lind, Chris Lipomi, Matt Lipps, Littlewhitehead, Lucy Liu, Annabel Livermore, Jay Lizo, Karen Lofgren, Peter Lograsso, Caitlin Lonegan, Bill Longhauser, Mara Lonner, Renée Lotenero, Richard Louderback, Jean Lowe, Kandy Lozano, John Gilbert Luebtow, Shana Lutker, Mela M., Kim MacConnel, Nancy Macko, Christina Madans, Constance Mallinson, Daniel Maltzman, Mambo, Becca Mann, Summer Mann, Adam Marnie, Luigia Martelloni, Taras Matla, Jake Kean Mayman, Yassi Mazandi, Jessica McCambly, Kim McCarty, Robin McCauley, Shaun McCracken, David McDonald, Mercedes McDonald, Michael C. McMillen, James McNulty, Blue McRight, Robert Mellor, Adrian Meraz, Thom Merrick, Christopher Michlig, Tom Millea, Brad Miller, James Miller, Greg Miller, Adia Millett, Yunhee Min, Robert Minervini, Robin Mitchell, Chuck Moffit, Bobbie Moline-Kramer, Nancy Monk, Pentti Monkkonen, Lester Monzon, Jim Morphesis, Joey Lehman Morris, Aaron Morse, Andy Moses, Ed Moses, Brian C. Moss, Susan Moss, Mario M. Muller, Manfred Müller, Thomas Müller, Barbara Nathanson, Chris Natrop, Tucker Neel, Geraldine Neuwirth, Kim Newstadt, Charles Nickila, Jessica Nicol, Danial Nord, Laurie Nye, Pat O Neill, Chris Oatey, Lisa Occhipinti, Matthew Offenbacher, Patti Oleon, Chris Oliveria, Yoko Ono, Ed Osborn, Kaz Oshiro, Ruby Osorio, John W. Outterbridge, Laura Owens, Edward Carlo Pacio, Gary Palmer, Liga Pang, R. Nelson Parrish, Christopher Pate, Izhar Patkin, Gillian Pears, Joan Perlman, Luciano Perna, Renee Petropoulos, Raymond Pettibon, Margaret Pezalla-Granlund, Ave Pildas, Paul Pitsker, Plasticgod, Allie Pohl, Bruce Pollock, Mary Anna Pomonis, William Pope.L, William Powhida, Vanessa Prager, Astrid Preston, Stephanie Pryor, Yuval Pudik, Antonio Puleo, Stephanie Ramer, Leta Ramos, Joe Ray, David Reed, Miles Regis, Maeghan Reid, Rob Reynolds, Dan Rider, Elwood T. Risk, Lynn Robb, John Robertson, Walter Robinson, Ry Rocklen, Steve Roden, Ana Rodriguez, Michael A. Rosenfeld, Amanda Ross-Ho, Melanie Rothschild, Kathy Rudin, Allen Ruppersberg, Ed Ruscha, Eddie Ruscha, Maha Saab, Betye Saar, Lezley Saar, Alison Saar, Gwen Samuels, Julião Sarmento, Debra Scacco, Larry Scharf, Molly Schiot, Lothar Schmitz, Kim Schoenstadt, Barbara Schwan, Josh Schweitzer, Chloe Sells, Lisa Semler, Shelter Serra, Marie Sester, Claudio Sgaravizzi, Brian Sharp, Peter Shire, Fran Siegel, Justin Siegel, Elena Mary Siff, Richard David Sigmund, Adam Silverman, Elias Sime, Simmons Burke, Doni Silver Simons, Kristina Simonsen, Alex Slade, Gibb Slife, Rena Small, Alexis Smith, Lucien Smith, Melinda Smith Altshuler, Joe Sola, Mariangeles Soto-Diaz, Brad Spence, Jeni Spota, Andréa Stanislav, Ralph Steadman, Randi Malkin Steinberger, Jennifer Steinkamp, Gretel Stephens, Coleen Sterritt, Roni Stretch, Don Suggs, May Sun, Ricky Swallow, Lisa Tchakmakian, Diana Thater, Mickalene Thomas, Mark Todd, Ibojka Toth-Radawec, Anne Troutman, David Trulli, Brian Tucker, Georgi Tushev, Carrie Ungerman, Bob Van Breda, Alison Van Pelt, Lesley Vance, Jennifer Vanderpool, Vasa, Sage Vaughn, Mark Verabioff, Margo Victor, Ariane Vielmetter, Catherine Wagner, Santy Wang, Gary Ward, Esther Watson, Marnie Weber, William Wegman, Roger Weik, Ruth Weisberg, Trine Wejp-Olsen, Jeffrey Wells, Brett Westfall, Ben White, Pae White, Alexandra Wiesenfeld, Robert Williams, Lyn Winter, Steven Wolkoff, Augusta Wood, Donald Woodman, Suzan Woodruff, Jemima Wyman, Leslie Yagar, Rosha Yaghmai, Hiro Yamagata, Kent Young and Kevin Young, Liz Young, Christine Zelinsky, Jody Zellen, Zelda Zinn, Bari Ziperstein, Pippi Zornoza. PRECOGNITO/ INCOGNITO 2012 sponsors: KCRW, Los Angeles Magazine, Patron, Bulgari, JetBlue, Knoll, Pressed Juiciery, Pivot Interiors, POM Wonderful, Warner Bros., and William Longhauser Design"^^ ; + + [] ; + + "PRECOGNITO/ INCOGNITO 2012"^^ ; + + . + + - "Alison Saar"^^ ; + "Breaking Barriers"^^ ; + + . + + + + "Lisabeth Davidow and Megan Williams"^^ ; . - + - . + . - + - . + . + + + + "Alison Saar"^^ ; + + . + + + + ; + + "Renowned in the 1960s for abstract and figurative painting, for this exhibition Pang returned from a long sojourn in Tokyo to unveil a renewed, redefined body of work. Pang s site-specific installation, a vast, handwoven net cast over the museum s main exhibition space, explored duality in the medium of bamboo at once simple and complex, flexible and strong."^^ ; + + "Liga Pang: New Work"^^ ; + + . - + - . + . + + + + ; + + "The Santa Monica Museum of Art launched the 2003 Project Room season with Lauren Bon s Hand Held Objects, a series of abstract, biomorphic sculptures that obliquely reference parts of the human body. Spare yet sensual, exposed yet mysterious, the objects in the exhibition were actually handled by visitors."^^ ; + + "Lauren Bon: Hand Held Objects"^^ ; + + . @@ -402,13 +466,13 @@ . - + - ; + ; - "A survey spanning thirty years of production by one of the key figures in the Pattern and Decoration movement, Parrot Talk was organized by curator and writer Michael Duncan. MacConnel s paintings, sculptures, and collages explore the full range of contemporary visual culture, drawing on everything from Matisse to the Simpsons. Mixing high and low sources with abandon, MacConnel relishes the juxtaposition of modernist images and ideas with their sources in so-called primitive cultures. His works of the 1990s explore the wild mix in Third World countries of traditional artifacts and Western consumer detritus. Drawing on the Western traditions of painting and photography in conjunction with African house-painting patterns and Chinese schoolbook illustrations, MacConnel conjures a genuinely multicultural style."^^ ; + "3 x Abstraction: New Methods of Drawing by Hilma af Klint, Emma Kunz, and Agnes Martin juxtaposed 100 rarely if ever seen paintings, drawings, and watercolors by these three artists of different generations. This major historical exhibition illuminated the extraordinary contributions made to abstract art by Hilma af Klint (Sweden, 1862-1944), Emma Kunz (Switzerland, 1892-1963), and Agnes Martin (Canada, 1912-2004). Each used distinctive formal devices particularly line, grid, and geometry to visualize and transform complex philosophical, scientific, and metaphysical ideas into powerful and transcendent works of art. The exhibition focused on a specific period of production within the life of each artist af Klint s spare and evocative compositions made between 1895 and 1920; Kunz s complex large-scale drawings based on mathematical geometries; and Martin s meditative early grids, primarily from the 1960s when the grid was first emerging as a focus of her work. 3 x Abstraction introduced a wider public to the seminal, inspirational work af Klint and Kunz, and presented intriguing new perspectives on the oeuvre of Agnes Martin. 3 x Abstraction was organized by cocurators Catherine de Zegher, director of The Drawing Center, New York, and writer and independent curator Hendel Teicher."^^ ; - "Parrot Talk: A Retrospective of Works by Kim MacConnel"^^ ; + "3 × Abstraction: New Methods of Drawing by Hilma af Klint, Emma Kunz, and Agnes Martin"^^ ; . @@ -418,9 +482,13 @@ "https://smmoa.org/audio/arnold-mesches-coming-attractions-audio/"^^ . - + - . + . + + + + . @@ -428,25 +496,17 @@ "https://smmoa.org/audio/strange-new-world-art-and-design-from-tijuanaextrano-nuevo-mundo-arte-y-diseno-desde-tijuana-audio-12/"^^ . - - - . - ; "https://smmoa.org/video/elias-sime-eye-of-the-needle-eye-of-the-heart-at-smmoa/"^^ . - - - ; - - "Nearly sixty works by Los Angeles artist Karen Carson were included in this mid-career survey. The works spanned the preceding twenty-five years and encompassed her artistic production in all media including painting, drawing, and mixed-media works and traced her stylistic journey from abstraction through pop. The Santa Monica Museum s exhibition was part of a citywide project entitled But Enough About Me, which included presentations of Carson s work at Otis College of Art and Design, Los Angeles, and Los Angeles Contemporary Exhibitions (LACE)."^^ ; - - "Karen Carson: But Enough About Me A Twenty-Five Year Survey"^^ ; - - . + + + ; + + . @@ -454,107 +514,85 @@ . + + + . + + + + . + + + + ; + + "This exhibition focused on the work of James Carter, outsider scientist and author of The Other Theory of Physics. Drawing on Carter s self-published books and pamphlets rife with mathematical formulae, diagrammatic illustrations, and computer animations the exhibition explored Carter s alternative theory of the creation of the universe and his do-it-yourself vision of reality. Lithium Legs and Apocalyptic Photons was guest-curated by Margaret Wertheim and organized by SMMoA."^^ ; + + "Lithium Legs and Apocalyptic Photons: The Imaginative World of James Carter"^^ ; + + . + "Urs Fischer"^^ ; . + + + . + "William Pope.L"^^ ; . - - - ; - - "Enigma Variations: Philip Guston and Giorgio de Chirico explored the influence of de Chirico s distinctive vision on Guston, and investigated the two artists shared motifs, subjects, and affinities. Although the Greek-born, Italian de Chirico (1888-1978) and the American Philip Guston (1913-1980) were from different generations and painted in different artistic environments, Guston closely followed de Chirico s work throughout his life. Featuring works from the early and late careers of both artists, Enigma Variations examined Guston s transformation of de Chirico s visual vocabulary antique statues, mannequins, gladiators, clocks, and canvas stretchers through his own unique and inimitable style. Guston s interest in de Chirico s imagery went hand in hand with a heartfelt admiration for the example the older artist set as an artist. De Chirico had weathered a barrage of criticism after his early success with his Metaphysical paintings from the 1910s, but he nonetheless embraced radical change and painted in a variety of styles while serially revisiting his own earlier motifs for the next fifty years. Guston too made a major stylistic shift: away from the formal purity of abstract expressionism from the 1940s and 1950s, which had won him great acclaim to raw, controversial figurative paintings at the end of the 1960s, which were initially harshly reviewed. Enigma Variations featured rarely seen late works by de Chirico, about which Guston remained an outspoken champion, always inspired and delighted by de Chirico s capacity to surprise. Enigma Variations investigated the specific parallels and points of intersection in ideas of these two twentieth-century masters, offering a unique lens through which to see and understand the work. The exhibition was cocurated by Michael Taylor of the Philadelphia Museum of Art and Lisa Melandri of the Santa Monica Museum of Art. 1 (left) Philip Guston By the Window, 1969 Oil on canvas 78 x 81 1/4 inches Private collection, courtesy of McKee Gallery, New York copyright the Estate of Philip Guston (right) Giorgio de Chirico The Poet and His Muse, 1925 Oil and tempera on canvas 35 7/8 x 29 inches Philadelphia Museum of Art, The Louise and Walter Arensberg Collection copyright Artists Rights Society (ARS), New York/SIAE, Rome"^^ ; - - "Enigma Variations: Philip Guston and Giorgio de Chirico"^^ ; - - . - - - - ; - - "This exhibition, cocurated by Bruce Hainley and Carole Ann Klonarides, featured work exploring the use of process, widely divergent materials, and formal concerns, as influenced by Hollywood and popular culture. Works by Los Angeles sculptors Liz Craft, Evan Holloway, Jason Meadows, Jeff Ono, Paul Sietsema, Torbjorn Vejvi, and others responded to Los Angeles as a resource, a history, an ideal, a state of mind even a negative force and nonsite. Mise en Scène gave viewers their first opportunity to see these local sculptures in relation to each other. Because many of the works were recent commissions, the Santa Monica Museum of Art was their first venue of exhibition."^^ ; - - "Mise en Scène: New L.A. Sculpture"^^ ; - - . - - - - ; + - "For the past decade, Santa Monica-based artist Jona Frank has used photography and film to explore the American adolescent experience. Lincoln High ROTC, Frank s first solo museum exhibition, featured two three-screen videos—Julia, Drill Team and Bravo Company, Squad Drill Competition—about members of the Junior ROTC program at Lincoln High School in the San Francisco Bay area. In these films, her camera angles and cuts revealed both physical and psychological details about the students, from their commitment and seriousness to their youth and awkwardness. Without agenda or judgment, Frank elucidated her subjects dualities—culturally diverse Junior ROTC students training to embrace a strict and singular vision, and the adolescent penchant to challenge authority in confluence with efforts to conform to group rules. At once dispassionate and intimate, Frank s videos portrayed the timeless and endearingly awkward vulnerability of young people on the threshold of adulthood, searching for personal meaning in their lives by mimicking postures and responses that seek to efface individuality."^^ ; + "In her first West Coast Museum exhibition, artist Nicole Cherubini presents new sculptures that reference the history of clay as a medium and feature forms made of terracotta, earthenware, and porcelain and surfaces arrived at through various hand-built, thrown and molded processes. New forms are accompanied and supported by materials such as wood, MDF, 2x3s, digital photographs, metal, glaze, enamel, and drawing materials. Cherubini s work brings antiquated notions of ceramics into a contemporary sculptural discourse as they invoke ideas rooted in conceptual art from the 1970s. The new box pieces presented at SMMoA come from a continued interest by Cherubini in movement, process, containment, and structure. These sculptures reference the cardboard pieces of Robert Rauschenberg, the material use of Robert Morris, ideas about physical space addressed by Donald Judd, and Eva Hesse s ability to challenge the 2-D and 3-D. Cherubini s large container is based on a Greek storage vessel from 500BC in the collection of the Metropolitan Museum, New York. Made of clay in multiple sections, it has no base and is filled with holes in defiance of its function. Barely glazed, most of its surface is raw, exposed, dry clay. Attached to this sculpture is a framed manipulated digital c-print of an 18th Century watercolor of The Portland Vase by T. Hosner Shepard. This vase, in the collection of The British Museum, London, was famously broken in February 1845 by an Irish university drop-out, William Mulcahy, who destroyed the vitrine and smashed the vase with a stone sculpture displayed nearby. Cherubini has drawn over this image with paint, graphite, and ink, depicting the shards before the piece was reconstructed. Cherubini uses the cardboard box in which manufactured clay comes as a mold for an object placed on a tall pedestal base. The collapsed, flaccid box is turned on its flattened side, adorned with pools and drips of glaze. Marks created by the mold and finger fully illustrate the process of its making, exposing both inside and out to the viewer. A large plywood pilaster, full of knots and cracks, displays brightly glazed hanging terracotta boxes . These are glazed with intense semi-precious colors of lapis, turquoise, malachite, cobalt, and rose quartz. Their earthy and organic textures vary from high gloss to matte, and are texturized with shimmery sediment and crystals mixing in the firing process. A larger 5-sided clay box stands on its side nearby, made from white clay with a matte white glaze. Cherubini was born in Boston in 1970. She received her BFA in Ceramics from the Rhode Island School of Design and her MFA in Visual Arts from New York University, and later attended the Skowhegan School of Painting and Sculpture in Maine. She is a recipient of an NEA Travel Grant, a New England Foundation for the Arts Fellowship in Sculpture, the Louis Comfort Tiffany Foundation Award, and most recently an Art Matters Grant for travel in Mexico. Her work has been exhibited in group and solo exhibitions both internationally and in the United States; including the Institute of Contemporary Art, Philadelphia; the Walker Art Center, Minneapolis; Santa Barbara Contemporary Arts Forum, Santa Barbara, CA; Sculpture Center, New York; La Panadería, Mexico City; PS1/MoMA, New York; The Rose Art Museum, Boston; Samson Projects, Boston; and Galerie Michael Janssen, Berlin. Last fall, she had concurrent exhibitions at Smith Stewart Gallery and D Amelio Terras in New York. Cherubini lives and works in Brooklyn, New York. Nicole Cherubini is organized by the Santa Monica Museum of Art and curator Lisa Melandri, Deputy Director for Exhibitions and Programs."^^ ; - "Jona Frank: Lincoln High ROTC"^^ ; + "Nicole Cherubini"^^ ; . - - - . - "Jeffrey Wells"^^ ; . - - - ; - - "Art After White People: Time, Trees, Celluloid  was the first major West Coast museum exhibition by William Pope.L, the self-dubbed friendliest black artist in America, who, throughout his thirty-year career, has challenged social inequity with dark humor and biting critique. For the Santa Monica Museum of Art, Pope.L created an installation in three parts The Grove, APHOV (A Personal History of Videography),and The Semen Pictures that confronted and examined ritual, human will, and political ego. Pope.L s interest in ritual layering as an artistic process was evident; all of his interventions featured objects or characters transformed by layers and veils made from such materials as paint and blood, or a simple latex mask. Art After White People brought Pope.L back to his roots in experimental theater with installations resembling stage sets. The Grove was a spectral forest of potted palm trees, hand- and spray-painted in many coats of white. Close up, their painted skin appeared spotty, even wart-like a commentary on the social, psychological, and environmental consequences of man s will to bend nature. Pope.L chose the palm trees for this installation as local scenery, and in his noir vision of Los Angeles, the city s most prevalent icons of tropical paradise wore a toxic costume that would eventually destroy them. Past The Grove, viewers saw a free-standing screening wall reminiscent of old-fashioned drive-in theaters or highway billboards. On screen, APHOV featured as its protagonist a masked man resembling former Secretary of Defense Donald Rumsfeld, weeping streams of artificial blood. The blood pooled on the floor of the man s lair, a makeshift archive piled high with cardboard storage boxes of videotapes organized by date. The rest of the on-screen clutter expanded into the real space of the museum, including furniture and the mysterious, locked industrial doors through which one could only peek at an endless warren of boxes and blood. Beyond the dark and disorder of the first two works, The Semen Pictures were bathed in light. Pope.L s final intervention consisted of digital scans of magazine collages covered with organic substances within light boxes. These portraits, altered by the addition of semen, hair, milk, coffee grounds, urine, and blood, balanced readymade pop culture with the natural and handmade, and exemplified Pope.L s artistic drive to create complex layers of image and meaning."^^ ; - - "William Pope.L: Art After White People: Time, Trees, Celluloid"^^ ; - - . - - + - . + ; + + . - + - ; - - . + . - - - ; + - "Belgian video artist Grimonprez created an environment reminiscent of an airport lounge, complete with television monitors, coffee tables, extra-wide seating, and his version of INFLIGHT magazine. Including more than fifty videos of disaster movies, documentaries, and art films, the video library also featured dial H-I-S-T-O-R-Y, 1997 Grimonprez s sensational and critically acclaimed study of sky-jacking."^^ ; + "Hey mister, which way to the donkey show? If you don t like the picture, blame the ass. For over a century, millions of Americans have put on sombreros and posed for tourist photographs on top of donkeys in the border city of Tijuana, Mexico. For almost as long, one of the greatest urban legends in all of California history has been the Tijuana donkey show, the much-rumored, often-referenced, but never proven south of the border sex show that is perpetually re-invented in American high school locker rooms. The Donkey Show explores the border s intersection of myth and reality through a blend of over 200 rare tourist photographs, vintage nightlife ephemera, and pop songs born of American myths of Tijuana. The exhibition is guest curated by cultural anthropologist and graphic design historian Jim Heimann and author and music critic Josh Kun. The Donkey Show, one of the greatest urban legends in all of border history has been a key narrative of the American tourist since WWII. It has been referenced in songs, Hollywood films, and for decades has lurked in the dark corners of American fantasies about what lies just below the borderline-that capital of boundless vice and sombrero-clad savagery where morals drown in tequila, men offer their wives and sisters for the right price, and where only the taxi drivers (those tour guides of the forbidden) know the way to the donkey show. The myth of the donkey show proliferated as Tijuana s reputation as a den of ill repute grew in the American mind, from U.S. sex comics such as Tijuana Bibles and early U.S. smut films set in Tijuana, to local burlesque and prostitution houses. The trip to Tijuana soon became a rite of passage for California teenagers, memorialized in movies such as Big Wednesday and Losin It (which featured Tom Cruise leading the Tijuana charge) and TV shows such as Moesha and The OC. The other donkey is the one that the millions of tourists who ve visited Tijuana actually get to know. That donkey is the one they sit on top of wearing sombreros lettered with Just Married, On My Ass, and Still Drunk in front of a painted backdrop of Old Mexico, posing for souvenir photographs snapped by the Mexican entrepreneurs who ve been putting smiling Americans atop donkeys-day in, day out-since the turn of the 20th century. That donkey is a source of local business; that donkey is a local joke on American tourists looking for the real thing and getting Mexican make-believe. Beginning in the late 1880s, Tijuana was fertile soil for American investment and American tourism, an early hub of hot springs, horse races, casinos and bullfights that exploded once Prohibition went into effect. American newspaper, railroad, and entertainment moguls poured money into the small dusty town (in 1900, Tijuana had a population of only 242) that was a short carriage ride from San Diego, creating a haven for vices unattainable on the opposite side of the border. Americans crossed the border to lose themselves in a fun house of racial stereotypes, seeing native dances and cock fights, donning serapes and sombreros, and posing with donkeys before they headed back home. It didn t take long for Tjuana locals to start cashing in on the distortions that Americans were expecting to find, giving the tourists want they wanted to see: old Mexico, the sleepy Mexican, the Spanish señorita, the fat mustachioed bandido. By 1938, the Mexicans who ran the donkey cart photo stands began to paint black stripes on their animal stars so they could be better seen on the increasingly inferior film stock. Ever since, not only have millions of tourists sat on top of donkeys posing as Mexicans, they ve sat on top of zonkeys posing as Mexicans. The striped donkey has become something of an official Tijuana mascot, lending its name and image to local bars, local industry, and as of 2010, even to a new city basketball team (Los Zonkeys). The striped donkey is characteristic of the city, Tijuana journalist Aida Silva Hernandez once wrote, It is the history of Tijuana. The Donkey Show assembles over 200 tourist donkey cart photos from the early 1900s-1980s (one that even includes F. Scott Fitzgerald), alongside rare Tijuana nightlife, burlesque, and vice ephemera. The images are joined by a soundtrack culled from dozens of US pop, rock, and blues songs about the imaginary Mexico that awaits American tourists once they head south of the border. Like the donkey show of legend, The Donkey Show plays with the power of the border s bait and switch: the show promises the forbidden but delivers cultural history and critique. What has driven millions of Americans of all backgrounds-white, Black, Latino, young, old-to have their picture taken on a donkey for well over a century? How have Mexican entrepreneurs turned American myth into local business and local culture? In a photo of a tourist and a donkey, which one is the ass? And most importantly, how do you get to the donkey show? Biographies of the guest curators: Jim Heimann is a cultural anthropologist and graphic design historian who is Executive Editor for TASCHEN America. He is the author of numerous books on architecture, pop culture, and the history of the West Coast, Los Angeles and Hollywood. The Donkey Show draws heavily from his private collection of ephemera that has been featured in museum exhibitions around the world and in dozens of books. Josh Kun is an author, music critic, and professor in the Annenberg School for Communication and Journalism at the University of Southern California, where he directs the Popular Music Project of The Norman Lear Center. He has taught and written extensively on the cultural worlds connecting Southern California and Tijuana, Mexico."^^ ; - "Johan Grimonprez: Inflight Lounge How Do We Know the Sky Isn t Green and We re Just Colorblind?"^^ ; + "The Donkey Show"^^ ; . - + - ; + ; - "Inspired by the conceptual art exhibition Art By Telephone (Museum of Contemporary Art, Chicago, 1969), in which participants phoned in their specifications for their works of art, artists Kim Schoenstadt and Rita McBride will exchange instructions to create their respective artworks in their first two-person U.S. Museum exhibition. Tell Me Something Good: A Collaboration between Kim Schoenstadt and Rita McBride opens at the Santa Monica Museum of Art on September 12 and will be on view through December 5, 2009. The original 1969 Art By Telephone was curated by Jan van der Marck. Its basic premise was to invite international and out-of-state artists to phone instructions that would be executed bymuseum installers. Schoenstadt and McBride have created their exchange as a variation of the 1969 project, with each phoning the other with instructions for a work. At SMMoA, Schoenstadt will create McBride s work according to the instructions photographs of all the gas stations along California Highway 1 between Los Angeles International Airport and Point Dume. McBride was asked by Schoenstadt to choose a discarded drawing from her studio and load it into a fax machine, then ask the Gallery to fax the floor plans of their proposed exhibition space. The combination of interposed drawing and architectural plan provided the final composition. This work was shown at New York gallery Alexander and Bonin from May 9 through June 13, 2009. The project takes up the telephone game idea of transforming visual information into language and back to visual, and also embraces the conceptual promise that anyone can make an art work based on the idea of the systemic production of art according to instruction. In the current era of instant messaging and social media, Schoenstadt and McBride use the telephone as a means of communication to initiate their conceptual works that explore the ramifications of what happens when an artist gives up control over his or her project. With its focus on collaboration and exploration of the nature of authorship, this exhibition is the perfect complement to the Allen Ruppersberg exhibition, which runs concurrently at SMMoA. Schoenstadt received a BFA from Pitzer College, California, and has participated in many solo and two-person exhibitions and projects in Europe and the U.S., including the Museum of Contemporary Art, Chicago, and the Institute of Contemporary Art, London. Her body of work centers around the exploration of drawing, and frequently includes series in which the final product is arrived at by chance or by instructions provided either via the audience or other artists; her works are often site-specific. Schoenstadt lives and works in Venice, California. McBride received a BA from Bard College, New York, and an MFA from California Institute of the Arts, Valencia. She is the recipient of many awards and residencies, including the prestigious Guggenheim Memorial Foundation Fellowship (2002). Her projects vary greatly from unorthodox books to large-scale sculptures. Her work has been shown at the SculptureCenter, New York, and she has had several solo museum exhibitions throughout Europe. McBride lives and works in Düsseldorf, Germany where she is a professor at the Kunstakademie Düsseldorf. The catalog accompanying the project is a recording of each artist s instructions on a vinyl record, just as it was for the original 1969 Art By Telephone. The record will be playing in the Project Room as part of the installation; a limited edition of signed copies will be available for sale. Tell Me Something Good: A Collaboration between Kim Schoenstadt and Rita McBride is organized by the Santa Monica Museum of Art and curator Lisa Melandri, Deputy Director for Exhibitions and Programs."^^ ; + "This exhibition explored the work of Roger Herman, acclaimed expressionist painter, as he developed his interest in ceramic as the ground on which to explore his gestural draftsmanship. Roger Herman: Pots was the first exhibition in the United States to feature his humorous and bold work in clay that playfully referenced the history of the medium from the traditional Japanese teapot to the Greek vase. Herman s pots come in a wide variety of shapes, sizes, and finishes, revealing his commitment to extensive experimentation on the wheel and in the kiln, and are decorated with painted images derived from manga comics, advertisements, porn magazines and films, as well as from a host of art historical sources."^^ ; - "Tell Me Something Good: A Collaboration between Kim Schoenstadt and Rita McBride"^^ ; + "Roger Herman: Pots"^^ ; . - - - . - - + - ; - - . + . @@ -562,109 +600,79 @@ . - - - "Agnes Denes"^^ ; - - . - - - - . - - + - ; + ; - "Breaking Barriers included the work of more than 140 Los Angeles artists of diverse ethnic and geographical backgrounds, invited by the museum to contribute work relating to the changing social, political, and geographic boundaries of Los Angeles in the wake of the Rodney King verdict and ensuing civil unrest. Breaking Barriers provided a forum for artists to add their voices to those of civic leaders, the media, and politicians as they engaged in the process of analyzing the urban environment and the rebuilding of Los Angeles."^^ ; + "The large-scale, frequently humorous installations created by New York artist Jason Middlebrook simulate natural and manmade structures and often center on the act of excavation be it metaphorical or literal. For his project at SMMoA, Middlebrook constructed a museum storage space that functioned as a site through which to explore the idea of neglect within the institutional context. The installation presented artifacts of a fictionalized history of the museum bubble-wrapped sculptures, discarded exhibition proposals, renovation plans, and an archival system spun out of control. Weeds and other plant matter colonized both the space and objects, producing a laboratory of growing art."^^ ; - "Breaking Barriers: Revisualizing the Urban Landscape"^^ ; + "Jason Middlebrook: Museum Storage"^^ ; . - - - "Bruce Busby"^^ ; - - . - - + - ; + ; - "Commenting on the perfect domestic lifestyle strived for in Southern California s sprawling suburban neighborhoods, Back Yard, an installation by artist Liza Lou, transformed the museum into the quintessential back yard. Remarkably, everything in the setting from the one million blades of grass to the barbecue grill and the picnic table laden with food was constructed from tiny beads. In conjunction with this momentous unveiling of Lou s new work, the Museum also presented Kitchen, a 1995 installation from the collection of Eileen and Peter Norton. This exhibition was the most comprehensive presentation of this Los Angeles artist s work to date. Smart Art Press published an accompanying catalog."^^ ; + "With the installation International Style, Melbourne artist Callum Morton continued his investigations into the relationship between private and public space. This new work referenced Mies van der Rohe s Farnsworth House (built in Illinois, 1945-1950), known at the time as a new vision of art and life. By reconstructing a seminal model of Bauhaus design within the Museum, Morton commented on the suburban framework that characterizes Los Angeles, Melbourne, and other urban centers, and on increasingly mobile lifestyles that engender distracted or incidental modes of perception."^^ ; - "Liza Lou: Back Yard and Kitchen Artist Project Series"^^ ; + "Callum Morton: International Style"^^ ; . - + - "Cavepainting"^^ ; + "Agnes Denes"^^ ; . - - - . - - - - ; - - "A key artist of his generation, Wallace Berman (1938-1976) was an enigmatic, underground figure whose collages and assemblages articulate an important strand of dark mysticism in post-War American culture. Berman s hand-printed, personally distributed literary journal, Semina (1955-1964) stands as an iconic document of its time. The first major museum exhibition to examine the significance of the charismatic Wallace Berman, Semina Culture: Wallace Berman His Circle featured the complete loose-leaf run of Semina, as well as artworks, photographs, and publications by forty-nine artists that manifest the scope and interests of the new Semina Culture. More than seventy photographic portraits from Berman s archive were also shown for the first time, revealing the close-knit nature of this underground community. These participants in an important emerging counterculture, the Beat movement of the 1950s and 1960s, pursued an alternative way of thinking about the purpose and formal nature of art, infusing their works with nostalgia, lyricism, feeling, and a sense of the ephemeral. They include Robert Alexander, John Altoon, Toni Basil, Paul Beattie, Ray and Bonnie Bremser, Charles Brittin, Joan Brown, Cameron, Bruce Conner, Jean Conner, Jay DeFeo, Diane DiPrima, Kirby Doyle, Bobby Driscoll, Robert Duncan, Joe Dunn, Llyn Foulkes, Loree Foxx, Ralph Gibson, Allen Ginsberg, Billy Gray, George Herms, Jack Hirschman, Dennis Hopper, Billy Jahrmarkt, Jess, Lawrence Jordan, Patricia Jordan, Bob Kaufman, Philip Lamantia, William Margolis, Michael McClure, Taylor Mead, David Meltzer, Henry Miller, Stuart Perkoff, John Reed, Arthur Richer, Rachel Rosenthal, Jack Smith, Dean Stockwell, Ben Talbert, Russel Tamblyn, Aya (Tarlow), Edmund Teske, Zack Walsh, Lew Welch, and John Wieners. For these iconoclasts, art was a joyful and creative expression, not a means to an artworld career. Their approach to the purpose and formal nature of art and culture existed on a vastly different track from the canonical traditions of abstract expressionism, minimalism, and postmodernism. Guest-curated by Michael Duncan and Kristine McKenna, Semina Culture traveled to the Nora Eccles Harrison Museum of Art, Utah State University, Logan, Utah (January 10 March 15, 2006); the Ulrich Museum of Art, Wichita State University, Wichita, Kansas (April 21 July 9, 2006); the University of California, Berkeley Art Museum Pacific Film Archive, Berkeley, California (October 17 December 10, 2006); and The Grey Art Gallery, New York University, New York, New York (January 16 March 31, 2007)."^^ ; - - "Semina Culture: Wallace Berman His Circle"^^ ; + + + "Bruce Busby"^^ ; - . + . - + - ; - - . + . - + - . + . - - - ; - - "Dugout II (Hold on to the House), the most recent episode in an ongoing epic by artist, musician, and playwright, Terry Allen, is a love story set in 1950s America that investigates the invention of memory through sculpture, music, film, and theater. Allen describes Dugout II as an audio/visual investigation into the end of the world, how memory blows up and changes everything, and how atomic monsters take over the earth a kind of Supernatural-Jazz-History-Ghost-Blood-Fiction. The exhibition at the Santa Monica Museum of Art was presented as art of a larger, multimedia, collaborative project, Dugout, which included a complementary exhibition at L.A. Louver Gallery, a performance at L.A. Theatre Works, and a lecture at The LACMA Institute for Art and Cultures."^^ ; - - "Terry Allen: Dugout II (Hold on to the House)"^^ ; - - . + + + . - - - ; - - "Hugh Pocock s work investigates the history and metaphor of human relationships with natural resources, space, time, art, and language, often representing what he terms an expression of involvement with intense labor and the dynamics of nature. For the site-specific installation This Garden making salt and evaporation drawings, Pocock placed 180 gallons of seawater from the Santa Monica Bay in a specially cast, shallow concrete pond, then employed solar-powered lights and fans to evaporate the seawater and leave behind a salt crystal residue. Throughout the exhibition, the salt was regularly harvested and the pond refilled; salt was available for visitors to taste. Pocock used a large-scale pencil drawing to chart and display atmospheric changes in the museum and the levels of natural evaporation of the seawater, and a projection of photographs documented the water collection process."^^ ; - - "Hugh Pocock: This Garden-making salt and evaporation drawing"^^ ; + + + "Cavepainting"^^ ; - . + . + + + + . - + + + . + + - ; + ; - "This exhibition presented works influenced by the game of golf, as well as the presentation of a film made by the artist. Three Artists Play One Hole of Golf  is a twenty-five-minute, 16mm film of artists Sam Durant, Kent Young, and Kevin Young playing one hole of golf, from tee-off to putt-out."^^ ; + "America the Beautiful was the first comprehensive museum exhibition of journals and mixed-media collages by Exene Cervenka, an icon of the Los Angeles music scene and one of the founding members of the seminal Los Angeles punk group, X. A musician, poet, and visual and spoken-word artist for more than thirty years, Cervenka created journals, dating from 1974 through 2005, that combine rough drafts of songs and personal reflections rendered in a baroque calligraphic script, with photographs, drawings, and scraps of ephemera that she found while traveling as a musician. Similarly, she created the collages from found materials to form an interpretative composite portrait of the country she came to know through her life experiences on the road. America the Beautiful was guest-curated by Michael Duncan and Kristine McKenna."^^ ; - "Michael McCurry: Golf Artist Project Series"^^ ; + "Exene Cervenka: America the Beautiful"^^ ; . - - - ; + - "Rowe s multimedia installation used sculpture, sound, video, slide projections, text, and photography to recount the life of one invisible woman. The work questioned existence and the quality of existence as it reiterated the artist s interest in the many anonymous people in our society who live unnoticed by and invisible to those around them."^^ ; + "Altered Egos presented work by artists who produce art under assumed names or who investigate the notion of hidden identities within their work. Unlike writers who simply adopt a pseudonym, these visual artists actually assume or appropriate another identifiable personality in their process of creating art. The exhibition, curated by the Santa Monica Museum s curatorial consultant Karen Moss, included work by Vernon Fisher, Maxine Henryson and Hunter Reynolds, Komar Melamid, Charles LaBelle, Annabel Livermore, Theresa Pendlebury, Brian Tucker, Jan Tumlir and Kevin Sullivan, and Millie Wilson."^^ ; - "Sandra Rowe: The Invisible Woman Artist Project Series"^^ ; + "Altered Egos"^^ ; . @@ -680,23 +688,35 @@ . - + - ; + ; - "A life-sized female figure clumsily carved from wax melts from the fire burning in her head; the rear-end of a scruffy dog awkwardly wags its mechanical tail. Linked by implication rather than style, this willful selection of disparate works combined to create What Should an Owl do with a Fork, a site-specific installation by Swiss artist Urs Fischer."^^ ; + "Collages Collages surveyed a series of thirty-six small-scale collages created by Los Angeles artist Roy Dowell over the course of one year, beginning in the summer of 1991. All of the images in the series are 6 × 9 inches and are composed of scraps of found paper used handbills, remnants of billboards, advertisements, and posters: the recycled detritus of everyday life. Using photo-based reproductions as source material, the artist s collages suggest meaning as a hybrid of popular culture and a lexicon of abstraction."^^ ; - "Urs Fischer: What Should an Owl Do with a Fork"^^ ; + "Roy Dowell: Collages Collages Community Focus Gallery"^^ ; . - - - . + + + ; + + "For Judgment Modification (After Memling), Brody Condon recreated The Last Judgment by Hans Memling (1467-71) in current computer game visual styles. While Condon s previous work was characterized by the subversive tactics of hacking and the intervention into commercial computer games, Judgment Modification revealed his shift to composing projected moving-image installations that function as animated paintings. These noninteractive self-playing games run continuously, like games waiting for the viewer to pick up the controller. Condon s creative process is informed by the software hacking logic he learned directly from online and offline fan subcultures. In his work he often reinterprets historical events and existing artworks. Examples of this include a two-hour Deathmatch battle between medieval reenactors (Untitled War, 2004) at Machine Project; and a computer simulation of the siege of the Branch Davidian compound in Waco, Texas, featuring an AK47-wielding David Koresh (Waco Resurrection, 2003, a C-level collaboration). Trained as a sculptor, Condon uses technology as the raw material for his art, creating works that are both profound and playful. Condon lived for a number of years in the Netherlands, where he had easy access to 15th-century European religious paintings. He believes that these works influence the visual style of games and fantasy art. He also believes that the catastrophic thinking these works reflect has greatly influenced the current political discourse. The references to monsters and wars, the emergence of readings of the Bible, the distrust of science, the faith in religious structures to solve our problems, this type of pre-modern thinking is rooted in the late-Medieval period in northern Europe, notes Condon."^^ ; + + "Brody Condon: Judgment Modification (After Memling)"^^ ; + + . - - - . + + + ; + + "This collaborative video installation by media artist Ann Bray and visual artist and performer Molly Cleator presented the artists engaged in a dialogue about the effects of TV and media. Their taped conversation was played on two monitors mounted at head level on two motorized wheelchairs that moved erratically around the gallery, which was filled with more than a hundred different types of chairs arranged in various viewing configurations."^^ ; + + "Anne Bray and Molly Cleator: Easy Chair, Electric Chair Artist Project Series"^^ ; + + . @@ -704,33 +724,33 @@ . + + + ; + + "Utilizing 3D computer animation rear-projected against two large picture windows, with each work accompanied by an audio score, Gender Specific addressed issues of location and gender differentiation. Steinkamp s installation was presented in conjunction with the Foundation for Art Resources and Bliss, as part of the citywide Los Angeles Freewaves Video Festival."^^ ; + + "Jennifer Steinkamp: Gender Specific"^^ ; + + . + "James Luna"^^ ; . - + - "International in scope, this exhibition brought together works by twenty-eight contemporary artists exploring the imagery of puppets in sculpture, film, video, time-based media, animation, and 2D work. Participating artists included Guy Ben-Ner, Nayland Blake, Louise Bourgeois, Maurizio Cattelan, Anne Chu, Nathalie Djurberg, Terence Gower, Dan Graham, Christian Jankowski, Mike Kelley, William Kentridge, Cindy Loehr, Annette Messager, Paul McCarthy, Matt Mullican, Bruce Nauman, Dennis Oppenheim, Philippe Parreno and Rirkrit Tiravanija, Thomas Schütte, Doug Skinner and Michael Smith, Laurie Simmons, Kiki Smith, Survival Research Laboratory, Kara Walker, and Charlie White. The Puppet Show took as its historic point of departure a great work of European avant-garde art history: Alfred Jarry s 1896 play Ubu Roi, which was originally conceived as a puppet show. The despotic King, who strode on stage roaring the French scatological word merdre, is the perfect source for all puppet allegories of grotesque government and acts of puppet transgression. More recently, puppets have taken hold of popular consciousness. They show up on stage, on television, in film, and even online, where assuming a fake identity to garner public opinion is called sock-puppeting. Seen in correspondence with these pop culture images, the works in The Puppet Show advanced the question: Why do puppets matter now? The Puppet Show installation included works by participating artists as well as a collection of historic puppets, which were housed in Puppet Storage the exhibition s simultaneous entry and backstage or unconsciousness."^^ ; + "Proposal for The Side of the Mountain brought together the work of artist Simon Leung and composer Michael Webster in a potent collaboration combining the heightened drama and tragic content of a traditional opera with a minimalist conceptual approach. It is simultaneously an opera-film; a four-channel video/sculpture installation; a work of architecture; a stage-set, and a proposal. Proposal for The Side of the Mountain was organized by SMMoA."^^ ; - "The Puppet Show"^^ ; + "Proposal for The Side of the Mountain, An Opera by Michael Webster and Simon Leung"^^ ; . - - - ; - - "Organic Laboratory Museum, created by Santa Monica artist Carl Cheng (John Doe Co.), is an experimental museum of research into organic materials, natural phenomena, and human nature. Its meditative, sanctuary-like environments rely upon the site s natural character to encourage the viewer s subjective experience of elemental forces sound, light, space, gravity, and physics. For his installation at the Santa Monica Museum, Cheng created a controlled greenhouse environment that displayed his long-term investigations, working models, and processes."^^ ; - - "Public Works: Carl Cheng: Organic Laboratory Museum, John Doe Co."^^ ; - - . - - + - . + . @@ -738,19 +758,19 @@ . - + - ; + ; - . + . - + - ; + ; - "Knowledge: Aspects of Conceptual Art investigated the relationship of early conceptual art activities (such as Art and Language, John Baldessari, Douglas Huebler, Joseph Kosuth, and Lawrence Weiner) to works by a younger group of neoconceptualists (such as Sarah Charlesworth, Clegg and Gutmann, Mike Kelley, Louise Lawler, Stephen Prina, and Richard Prince). This exhibition was organized by Phyllis Plous of the University Art Museum, University of California at Santa Barbara, and Frances Colpitt of the University of Texas at San Antonio."^^ ; + "Milton Glaser for Lapchi: An Exploration of Pattern Making and Color Effects in Textiles is a special weeklong exhibition of the newest work by this iconic American graphic designer. Milton Glaser for Lapchi revitalizes SMMoA s relationship with Glaser and features a unique selection of original, hand-made Lapchi carpets, designed and conceptualized by the artist. With Milton Glaser for Lapchi, SMMoA continues a collaboration that began with Glaser more than a decade ago. In 2001, SMMoA presented Milton Glaser, an exhibition that brought together nearly 70 posters and sketches produced by the artist from his distinctive 1966 Dylan poster to his series for the Teatro Massimo opera house in Italy. In conjunction with Milton Glaser, SMMoA collaborated with the American Institute of Graphic Arts (AIA) to present a reception, lecture, and book signing to celebrate the publication of Glaser s acclaimed book Milton Glaser: Art is Work. With Milton Glaser for Lapchi, SMMoA is thrilled to again present the work of this seminal artist, whose influence on the graphic and commercial arts has been widespread and profound for more than 60 years. Glaser is among the most influential designers in the world. A renowned graphic and architectural designer, his prolific body of work ranges from eminent logos to complete graphic and decorative programs for worldwide clientele. Glaser s illustrious career includes the design and illustration of more than 300 posters, and graphic and architectural commissions for clients in the areas of publishing, music, theater, film, institutional and civic enterprise, and commercial products and services. Among Glaser s most admired works are his I ? NY campaign, which was designed for the 1975 New York State slogan, the complete design and artwork for Tony Kushner s Pulitzer Prize-winning play Angels in America, the signature brand logo for Trump Vodka, and the complete interior design for Rockefeller Plaza s Rainbow Room. SMMoA s first look at the Milton Glaser for Lapchi collection marks the launch of a new collaboration between the legendary artist and the preeminent Lapchi hand-woven custom carpet company. The collection will include 25 distinctive, full size carpets, featuring designs inspired by the mystical to historic pattern references woven in light and dark colorations. The entire collection, on view exclusively at SMMoA during the exhibition, is available in a limited edition of 100 for each design and color scheme. Each carpet will be privately labeled and numbered with the Milton Glaser for Lapchi brand logo. The collection is shown primarily in 8 x 10 sizes, but may be custom sized for decorative flooring or display as wall art. The Milton Glaser for Lapchi collection is woven using Tibetan wool in combination with fine silk from India and China. Untouched by chemical washes or bleach throughout production, the carpets are handspun in the traditional Tibetan sena knot and small pot dyed to create a natural abrashed appearance. Lapchi carpets are certified by GoodWeave, an organization that works to end child labor in the carpet industry and offer educational opportunities to children in South Asia. About the artist:Glaser (b. 1929) was born, works, and lives in New York City. He attended The Cooper Union for the Advancement of Science and Art in New York and, the Academy of Fine Arts in Bologna, Italy where he studied with painter Giorgio Morandi. He holds honorary doctorates from Minneapolis Institute of Arts; Moore College of Art Design; Philadelphia Museum School; School of Visual Arts; Queens College, CUNY; University at Buffalo, New York; and the Royal College of Art in London. Glaser co-founded the revolutionary Pushpin Studios, he founded and was design director of New York Magazine with Clay Felker, established Milton Glaser, Inc., and teamed with Walter Bernard to form the publication design firm WBMG. Glaser received the Honors Awards from the American Institute of Architects (AIA); the Lifetime Achievement Award from the Smithsonian Copper-Hewitt, National Design Museum; and in 2010, he became the first designer to receive The National Medal of Arts, which was presented by President Obama. Glaser s artwork has been featured in solo exhibitions, including in New York at the Museum of Modern Art, Lincoln Center Gallery, Houghton Gallery, and The Cooper Union for the Advancement of Science and Art; in Boston at the Art Institute in Boston; in Italy at the Vicenza Museum, Nuages Gallery, the Galleria Comunale d Arte Moderna in Bologna, and Fondazione Bevilacqua La Masa in Venice; in Japan at Japan s Creation Gallery and the Suntory Museum; and in Paris at the Centre Georges Pompidou. Glaser is represented in permanent collections in New York at the Museum of Modern Art, The Chase Manhattan Bank, and the Cooper Hewitt National Design Museum; in Washington D.C. at the National Archive, Smithsonian Institute; and in Jerusalem at The Israel Museum."^^ ; - "Knowledge: Aspects of Conceptual Art"^^ ; + "Milton Glaser for Lapchi: An Exploration of Pattern Making and Color Effects in Textiles"^^ ; . @@ -760,9 +780,19 @@ "https://smmoa.org/audio/project-room-nicole-cherubini/"^^ . - + - . + . + + + + ; + + "Ecstatic Visions and Unnatural Acts featured more than eighty paintings and drawings by Los Angeles artist Margaret Nielsen, spanning the artist s career from 1970 through 1995. This major museum survey linked Nielsen s artistic production with the tradition of American landscape painting and included works that ranged in size from the diminutive to the large scale. Although reminiscent of such diverse artists as surrealist painter René Magritte and nineteenth-century landscape painter Alfred Bierstadt, Nielsen s work reflects the intimacy of a private realm where basic elemental forces fire, water, earth, air become a source of fantasy and mystery."^^ ; + + "Margaret Nielsen: Ecstatic Visions and Unnatural Acts"^^ ; + + . @@ -770,9 +800,21 @@ . - + + + ; + + "Revenge Effects was a meditation on ecology and the aesthetics of control an exploration of the human impulse to manipulate nature for design purposes. Drezner s multimedia installation, a constructed formal allée, triggered viewer associations through an unabashedly synthetic (albeit elegant) form while making reference to nature s backlash the catastrophic blights and diseases that have afflicted numerous tree species over the past century. Drezner unveiled a chilling, yet practical alternative to our historical preoccupation with governing nature, one that acknowledges the extent to which our perceptions of nature are shaped by style."^^ ; + + "Amy Drezner: Revenge Effects Blight Resistance Artist Project Series"^^ ; + + . + + - . + ; + + . @@ -780,13 +822,23 @@ . - + - . + . + + + + ; + + "Strange New World: Art and Design from Tijuana/Extraño Nuevo Mundo: Arte y diseño desde Tijuana was the first major traveling exhibition to explore and celebrate the vibrant interdisciplinary art scene in Tijuana, Mexico, one of the world s leading crucibles of cultural innovation. The exhibition featured more than fifty works by twenty of Tijuana s most important contemporary artists, architects, designers, and filmmakers. Their bold, cutting-edge work embodied the powerful creative energy of a city transformed by crosscurrents of globalization, media, and issues of migration and identity. Whether as the subject or the actual physical source of the materials used to create works of art, the City of Tijuana was at the core of everything in Strange New World/Extraño Nuevo Mundo, which discovered new visual, verbal, and audio forms to manifest their experience of the rapidly changing interconnected realities of the local urban and global environments. Strange New World/Extraño Nuevo Mundo, organized by the Museum of Contemporary Art San Diego, featured the art of Mely Barragán, Bulbo, Alida Cervantes, Enrique Ciapara, Hugo Crosthwaite, Teddy Cruz, Einar and Jamex de la Torre, Salomón Huerta, Ana Machado, Julio César Morales, Julio Orozco, René Peralta, Marcos Ramírez ERRE, Salvador V. Ricalde, Daniel Ruanova, Giancarlo Ruíz, Jaime Ruiz Otis, Aaron Soto, Torolab, and Yvonne Venegas."^^ ; + + "Strange New World: Art and Design from Tijuana Extraño Nuevo Mundo: Arte y diseño desde Tijuana"^^ ; + + . - + - . + . @@ -794,13 +846,27 @@ "https://smmoa.org/audio/combustione-alberto-burri-and-america/"^^ . - + + + . + + - ; + ; - "Artist s acknowledgements and thanks to: The Getty Research Institute, Research Library/photo collection; Julius Shulman photography of Neutra s Kronish House; The friends of the Schindler House; The City of Los Angeles and Barnsdall Art Park; Friends of the Hollyhock House; Joshua White photography of Lautner s Beyer House; Special effects: Maya Zuckerman; Matthew Klein Media; and Edward Cella Art+Architecture"^^ ; + "SMMoA presents the United States premier of Sabbath 2008, a video which documents the closing down of the ultra-orthodox neighborhoods in and around Jerusalem on the eve of the Sabbath. In most cases, public access to these neighborhoods is blocked by means of temporary barriers, which remain closed for 24 hours thus creating an artificial border between the orthodox areas and the rest of the city. The barriers are put in place by neighborhood residents, with the approval and support of the Jerusalem municipality and the police. The city therefore becomes topologically transformed into two cities one with and one without cars. Although the value of these somewhat rickety barriers may appear symbolic, their presence is sometimes a source of friction and conflict; they delineate a clear cut boundary between the sacred and the everyday. Pereg s subject matter is often full of political tension, but in Sabbath 2008, she has created a film that is objective in offering a documentary view of an important aspect of religious Jewish life. Pereg was born in Israel in 1969, and now lives in Israel and Germany. She received her B.F.A from Cooper Union in New York, and graduated from the Bezalel M.F.A studio program in Jerusalem. Her works have been exhibited at such venues as PS 1 New York; HDK Berlin; ZKM Karlsruhe; the Israel Museum in Jerusalem; Herzliya Museum of Contemporary Art; Liverpool Biennial, England (2006); and Loop Video-Art Fair, Barcelona, Spain (2006). Nira Pereg: Sabbath 2008 has been supported in part by The Jewish Federation s Tel Aviv/Los Angeles Partnership."^^ ; - "Adam Berg: Endangered Spaces"^^ ; + "Nira Pereg: Sabbath 2008"^^ ; + + . + + + + ; + + "This exhibition presented works influenced by the game of golf, as well as the presentation of a film made by the artist. Three Artists Play One Hole of Golf  is a twenty-five-minute, 16mm film of artists Sam Durant, Kent Young, and Kevin Young playing one hole of golf, from tee-off to putt-out."^^ ; + + "Michael McCurry: Golf Artist Project Series"^^ ; . @@ -810,9 +876,57 @@ . - + + + ; + + "With wit, intuition, and paint, Kovachevich transformed discarded plastic packaging materials into more than one hundred intimate and unusual paintings in the museum s Project Room. In a second space at the museum, the artist created a large-scale sculptural installation from brown paper packing tape a monumental, linear bouquet that changed shape over time in response to airflow, humidity, and entropy."^^ ; + + "Thomas Kovachevich: Paper/Plastic/Paint"^^ ; + + . + + + + ; + + "Conceptual artist Mariella Bettineschi has garnered acclaim in her home country of Italy since the early 1980s. Voyager highlighted portions of her oeuvre from 1999 to 2005, and was Bettineschi s first West Coast museum exhibition. Though abstracted, Voyager nonetheless told a science-fiction story of a young woman s journey through space and time on a quest for omniscience. For SMMoA, Bettineschi created an installation comprising two bodies of work that formed a visual mosaic. The first, a series of light boxes titled At the Speed of Light (2005), transmitted rich colored and gestural light drawings and motion-altered photographs suggesting extraterrestrial travel. The second, Spaceship (1999), consisted of images printed directly on Plexiglas in reflective silver and black, portraying real and imaginary flying machines. Both series used the transparency and luminosity of the glass to combine the poetic and the ethereal with the mechanized and the concrete. At once slick and haunting, Bettineschi s work transported the viewer to an alternate universe."^^ ; + + "Mariella Bettineschi: Voyager"^^ ; + + . + + - . + ; + + . + + + + ; + + "George Herms: Hot Set featured forty-four works of sculpture, collage, and assemblage by this celebrated artist made between 1959 and 2005, selected by legendary curator Walter Hopps. Hopps, who first met Herms in 1956, one year before he opened the legendary Ferus Gallery, placed Herms on a dazzling continuum of assemblage artists that includes Pablo Picasso, Kurt Schwitters, Marcel Duchamp, and Joseph Cornell, as well as California luminaries Wallace Berman and Edward Keinholz. Included early on in the ground-breaking exhibition The Art of Assemblage at The Museum of Modern Art in New York in 1961, Herms continued to work across disciplines, using poetry, film, theatre, and assemblage as his mediums, as well as starting the LOVE Press in the early 1960s. Herms was a member of the West Coast Beat movement, and credits Wallace Berman with teaching him that any object, even a mundane cast-off, could be of great interest if contextualized properly. This ability to reclaim, recycle, and recreate found objects remains central to Herms s work, from his first secret show in a deserted area in Hermosa Beach to the present. Hot Set featured a range of his celebratory and elegiac work, enlivened by Hopps s lyrical and idiosyncratic installation."^^ ; + + "George Herms: Hot Set"^^ ; + + . + + + + ; + + "A dance piece choreographed by Davidow and performed by the Pacific Dance Ensemble took place around and within Williams s sculpture."^^ ; + + "Lisabeth Davidow and Megan Williams: Interarts Project at Santa Monica Museum of Art and Beyond Baroque"^^ ; + + . + + + + ; + + . @@ -820,13 +934,13 @@ . - + - ; + ; - "This exhibition of contemporary art by Chicano, Irish, and Mexican artists examined the common ground shared by Mexico and Ireland, countries with notable differences as well as profound commonalities. Both countries have developed economically in the shadow of their more powerful neighbors (the U.S. and England); both are characterized by widespread migration; both share a strong tradition of Catholicism as well as deep roots in their ancient mythologies. Distant Relations revealed a rich, artistic dialogue about exile, invisibility, the loss of language and culture, a confrontation with the past, and the emergence of new hybrid cultures. This multimedia exhibition included the work of twelve internationally recognized artists: Willie Doherty, David Fox, Javier de la Garza, Silvia Gruner, Frances Hegarty, John Kindness, Alice Maher, Daniel J. Martinez, Amalia Mesa-Bains, Philip Napier, Rubén Ortiz Torres, and John Valadez. Curated by independent curator Trisha Ziff, Distant Relations was organized by the Ikon Gallery, Birmingham, England, and the Santa Monica Museum of Art. The accompanying catalog was published by Smart Art Press, Santa Monica."^^ ; + "Views from Lookout Mountain marked the first museum exhibition to provide a complete film retrospective in conjunction with a survey of the visual artworks by this important Los Angeles artist. Combining a range of media sculpture, photography, photographic composite prints, film projection, film installation, drawing, and interactive DVD-ROM  the exhibition brought to light Pat O Neill s major works from the early 1960s to the present. Although O Neill s films enjoy a devoted following in the avant-garde film community, the SMMoA exhibition located these works in a visual arts context where they can be most fully appreciated as powerful projections of temporal painting, aural composition, and visual poetry. For the majority of visitors, the exhibition was an edifying introduction to the work of an artist whose unique vision engages all the major aesthetic progressions of the post-War era, and whose techniques anticipated technological innovations. In the accompanying catalog, artist Erika Suderburg sums up: He deploys co-existing strata of obsolescence, repose, revolution, consumption, and anarchic agitation. Ultimately he engages us in seeing. Julie Lazar, director of International Contemporary Arts Network, served as guest curator."^^ ; - "Distant Relations/Cercanías Distantes/Clann I Gcíin: A Dialogue Among Chicano, Irish, and Mexican Artists"^^ ; + "Pat O Neill: Views from Lookout Mountain"^^ ; . @@ -836,9 +950,11 @@ "https://smmoa.org/audio/project-room-1-arik-levy-luminescence/"^^ . - + - . + ; + + . @@ -852,23 +968,23 @@ . - + - ; + ; - "Williams s installation of wall drawings, three-dimensional drawings, and traditional sculpture focused on issues of identity and conformity. Bringing her encyclopedic range of borrowed and created imagery to bear, Williams created objects that offered a haunting sense of familiarity even as they refused to be firmly anchored by memories of time or place."^^ ; + "The Dark Lining, Marco Brambilla s first solo museum exhibition, features seven major time-based works from 1999 to the present. Brambilla s oeuvre consists of complex video installations. Much of his work comprises found film footage edited, layered, and spliced to create compelling new narratives and stunning visual mosaics. With exquisite technical production and seamless editing, Brambilla s multi-layered tableaux of interconnecting images and looped video blend into an expansive landscape that forms his hallmark style. The exhibition at SMMoA will feature the premier of Evolution (Megaplex), 2010, a new large-scale 3D video collage, which displays the history of humankind through the lens of cinema. In this never before seen work, Brambilla combines hundreds of clips from genre films that re-enact historical moments as grand spectacle. This cacophony of images is looped and mapped into an infinite three-dimensional environment that scrolls horizontally across time. Evolution emphasizes conflicts through the ages, in a remix that seamlessly moves through past, present, and future, providing a satirical take on the bombast of the big-budget epic. In a poignant work from 2002 titled HalfLife, Brambilla juxtaposes surveillance footage of gamers playing the then-popular video game Counter-Strike with live-feed footage of the game they are playing. By placing the young men in the cross-hairs point-of-view while simultaneously capturing their virtual actions inside the game-world, Brambilla highlights the physical displacement and the psychological dislocation inherent in entering the digital world. Cathedral, 2008, in which Brambilla filmed Christmas shoppers in a Canadian mall, exposes raw footage in a long and slow sequence of kaleidoscopic patterning. The superimposed and multi-layered images transform the mall into a hallucinatory space. Though it resembles an animated stained glass window, the work depicts commerce and conspicuous consumption, and the conflation of a shoppers paradise with a literal place of worship. Brambilla s Civilization (Megaplex), 2008, is dense with imagery and depicts heaven, hell, and in-between, in an epic, almost Dante-esque style, set to an excerpt from Stravinsky s Rite of Spring.  His first video mural integrates clips into an expansive landscape that continuously scrolls downward, starting with the fires of hell, progressing through to celestial reward. Other works in the exhibition include Wall of Death, 2001; Sync, 2005; and Sea of Tranquility, 2006. The ambitious installation design of The Dark Liningwill mirror Brambilla s complex visual arrangements where the viewer is led, almost transported, from singular, theater-like stations to open spaces where multiple works present themselves in layered concert with one another. The exhibition at SMMoA is unique from previous installations as this will present multiple significant works from the last decade and illustrate Brambilla s artistic range and evolution. The exhibition itself, therefore, will function as an artwork one that is revealed with the audience s choreographed movement through a well-orchestrated and articulated space. Marco Brambilla studied film at Ryerson University, Toronto, Canada, and then worked in commercials and feature films, directing the successful 1993 science fiction film Demolition Man. In 1998, he shifted his focus to video and photography projects as an artist and filmmaker. His work has been exhibited internationally at such institutions as the Kunsthalle Bern, screened at the Sundance and Cannes film festivals, and can be found in the permanent collections of the Guggenheim Museum, the San Francisco Museum of Modern Art, the New Museum of Contemporary Art, and the ARCO Foundation in Madrid, amongst others. Brambilla has been awarded both the Tiffany Comfort Foundation and Colbert Foundation awards for his video installations. He was born in Milan, Italy, and currently lives and works in New York and Los Angeles. Major support for this exhibition has been provided by The Chaney Family Collection, Beth Rudin DeWoody, and Liz Swig. Additional support has been provided by HSI Productions and The Suzanne Nora Johnson and David Gordon Johnson Foundation."^^ ; - "Megan Williams: Drawn from Memory Artist Project Series"^^ ; + "Marco Brambilla: The Dark Lining"^^ ; . - + - ; + ; - "From January 24 to April 18, 2009, the Santa Monica Museum of Art presents Elias Sime: Eye of the Needle, Eye of the Heart, the first survey exhibition in the United States of one of Ethiopia s most original and prolific contemporary artists. The exhibition, co-curated by Meskerem Assegued, a revered Ethiopian curator and anthropologist, and visionary theater, opera, and multi-disciplinary arts impresario, Peter Sellars, is comprised of more than 100 works in a variety of mediums, scale, and forms. A highlight of the exhibition is a series of striking thrones made of leather, wood, mud and straw, which will be integrated into conductor Esa-Pekka Salonen s final Los Angeles Philharmonic concerts staged by Sellars in mid-April. Elias Sime: Eye of the Needle, Eye of the Heart will be accompanied by a film by award-winning filmmakers Jonathan Dayton and Valerie Faris (Little Miss Sunshine) that will uniquely document the exhibition. Using yarn, plastics, tattered fabric, buttons, used plastic, and bottle tops, each of the collages and stitched canvases Sime creates for Elias Sime: Eye of the Needle, Eye of the Heart represent a complete essay about the current state of his surroundings. Sime s three-dimensional sculptures are made with traditional organic Ethiopian building materials such as mud and straw, as well as wood, metal, and other found objects, gathered in part by neighborhood children. It was Sellars passion for Sime s work that initially inspired SMMoA s executive director Elsa Longhauser to consider the idea of an exhibition of Sime s work. During their conversations, Sellars explained that Sime s thrones, designed to elevate and celebrate Ethiopia s street culture, so moved him that he was determined to feature the thrones in his production of Stravinsky s Oedipus Rex and Symphony of Psalms, Salonen s final concerts on April 16, 17, 18 and 19. Sime originally designed the thrones for Sellars 2006 New Crowned Hope Festival, a celebration of Mozart s 250th anniversary in Vienna, Austria. In Elias Sime: Eye of the Needle, Eye of the Heart, the thrones make up part of the installation piece Min Neber, a new iteration of a series of works in which Sime addresses the dignity, wisdom and depth of the ancient indigenous cultures that are rapidly disappearing from Ethiopia. Also, displayed in a semicircle around a small ceremonial table, the installation will include five wall sculptures, made from wood, cans, leather, and stitches, as well as a short, silent video installation documenting indigenous religious practices of small villages in Ethiopia. In Mud and Straw, small mud and straw creatures take over the gallery space. A video installation documents Sime s construction of a Gota, the traditional grain storage container found in northern Ethiopia. BIOGRAPHIES: As a child, Elias Sime taught himself to sew, embroider, and repair furniture. He collected cast-off objects and materials, such as flattened tin cans, and fashioned them into his own creations. Today Sime still collects energetically plastic shopping bags in different colors, plastic shoes, horns from slaughtered cattle and buys some of the raw material for his work, such as buttons, at the Mercato, Addis Abeba s sprawling central market. Just as he gathers materials for making art from the markets and streets, Simé finds the themes for his works in the streets of Addis. He documents the lives and portraits of Ethiopians living in the Cherkos Gebeya, Legaehar and Chide Terra areas surrounding Addis Abeba, where he finds most of his working materials. Sime has deep connections with the communities he documents, in particular with the neighborhood children who bring him objects they collect from the street. Born in Cherkos, outside of Addis Abeba, Ethiopia, Sime graduated from Addis Abeba University s School of Fine Art and Design with a degree in graphic design. His practice focuses mainly on collages, stitches, and three-dimensional sculpture. Sime has had numerous solo shows, and has participated in many group exhibitions including the Studio Museum in Harlem, New York; Peter Sellars New Crowned Hope in Vienna, Austria; the Dak Art Biennale 2004, in Dakar, Senegal; and the Zoma Contemporary Art Center and the National Museum in Addis Ababa. Simé lives and works in Addis Ababa. Peter Sellars, a director of opera, theatre and film, is renowned worldwide for his innovative treatments of classical material from western and non-western traditions, and for exploring the role of the performing arts in contemporary society and his commitment to spreading artistic vision to enact change. He has served as artistic director of the Los Angeles Festival, the American National Theatre at the Kennedy Center, the Boston Shakespeare Company and the Elitch Theatre for Children in Denver. Sellars is a professor in the department of World Arts and Cultures at UCLA, where he teaches Art as Social Action and Art as Moral Action. His past teaching positions include a visiting professorship at the Center for Theatre Arts at UC Berkeley. He resides in Los Angeles. Trained as an anthropologist, Meskerem Assegued is the curator and founder of Addis Abeba s Zoma Contemporary Art Center. In 2006, she curated Green Flame in Vienna, Austria, part of the New Crowned Hope Festival, in which Sime participated. Assegued has served as a selection committee of the 2004 Dak Art Biennale, one of the largest contemporary art exhibitions in the world. In 2007, Assegued was on the selection committee for the African Pavilion in the 52nd Venice Biennale. She lives in Addis Abeba."^^ ; + "Breaking Barriers included the work of more than 140 Los Angeles artists of diverse ethnic and geographical backgrounds, invited by the museum to contribute work relating to the changing social, political, and geographic boundaries of Los Angeles in the wake of the Rodney King verdict and ensuing civil unrest. Breaking Barriers provided a forum for artists to add their voices to those of civic leaders, the media, and politicians as they engaged in the process of analyzing the urban environment and the rebuilding of Los Angeles."^^ ; - "Elias Sime: Eye of the Needle, Eye of the Heart"^^ ; + "Breaking Barriers: Revisualizing the Urban Landscape"^^ ; . @@ -878,17 +994,57 @@ . - + + + "Semina Culture"^^ ; + + . + + + + ; + + "An epic body of work by Los Angeles photographic artist Allan Sekula, Fish Story was created over a five-year period of research that included travel to industrial ports all over the world. This project explored the historical, sociopolitical, aesthetic, and literary connections among such far-flung port cities as New York, Rotterdam, Los Angeles, Hong Kong, and Seoul. Consisting of a sequence of 105 large-scale, color photographs interspersed with narrative panels authored by Sekula, as well as two slide projections, Fish Story wove an intricate web of visual and verbal associations among panoramic views of the sea, detailed close-ups of nautical devices, cargo containers, warehouses, sailors, and shipyard workers, locating the individual elements in an ever-shifting cross-current of global exchange: of goods, money, knowledge, and power. This exhibition was organized by Chris Dercon for the Witte de With Center for Contemporary Art, Rotterdam, the Netherlands, and was accompanied by a full-color catalog."^^ ; + + "Allan Sekula: Fish Story"^^ ; + + . + + + + ; + + "This exhibition examined for the first time a mixed-media collage book created by Beck Hansen along with selected, lesser-known works by Al Hansen. Beck s collages suggest a hybrid form of process art devoid of the slick packaging of high conceptual art or the pop music for which he s best known. Included in the show were examples of Al Hansen s signature Goddess Venus figures composed of cigarette butts, Hershey bar wrapper text collages, photographic compositions, and handcrafted city maps. Playing with Matches was organized by Wayne Baerwaldt of Plug In Inc., a nonprofit center for contemporary art in Winnipeg, Canada; the accompanying illustrated catalog was copublished by Smart Art Press and Plug In Editions."^^ ; + + "Beck and Al Hansen: Playing with Matches Community Focus Gallery"^^ ; + + . + + - . + . - + - ; + ; - "Garouste s large-scale acrylic paintings were created on panels of linen that recalled the textile materials used beginning in the Middle Ages and known in seventeenth and eighteenth-century Europe as indiennes. The exhibition also featured a selection of the artist s bronze sculptures and smaller works in watercolor. Curated by Marie Claude-Beaud, founder and Director of the Cartier Foundation for Contemporary Art, Les Indiennes was the first one-person show of Garouste s work on the West Coast."^^ ; + "Richard Jackson s monumental kinetic painting installation combined painted walls, freestanding sculptures, and spinning fiberglass figures to create disorienting optical and perceptual illusions. Jackson s active interest in geometric abstraction, minimalism, and conceptual art, and the ideas associated with these movements, informed his own art-making and raised questions concerning representation, perception, and the process of painting."^^ ; - "Gerard Garouste: Les Indiennes"^^ ; + "Richard Jackson: Big Confusing Ideas Artist Project Series"^^ ; + + . + + + + . + + + + ; + + "Between Worlds exhibited the work of sixteen photographers from across Mexico whose images document the diversity of contemporary Mexican culture. The accompanying 145-page catalog featured contributions by five Mexican writers who amplified the strong cultural traditions presented through the imagery. Between Worlds was curated by Trisha Ziff, organized by Pilar Perez, and circulated by Curatorial Assistance."^^ ; + + "Between Worlds: Contemporary Mexican Photography"^^ ; . @@ -898,17 +1054,21 @@ . + + + ; + + . + "Parrot Talk"^^ ; . - - - "Semina Culture"^^ ; - - . + + + . @@ -916,9 +1076,49 @@ . - + + + ; + + "Art After White People: Time, Trees, Celluloid  was the first major West Coast museum exhibition by William Pope.L, the self-dubbed friendliest black artist in America, who, throughout his thirty-year career, has challenged social inequity with dark humor and biting critique. For the Santa Monica Museum of Art, Pope.L created an installation in three parts The Grove, APHOV (A Personal History of Videography),and The Semen Pictures that confronted and examined ritual, human will, and political ego. Pope.L s interest in ritual layering as an artistic process was evident; all of his interventions featured objects or characters transformed by layers and veils made from such materials as paint and blood, or a simple latex mask. Art After White People brought Pope.L back to his roots in experimental theater with installations resembling stage sets. The Grove was a spectral forest of potted palm trees, hand- and spray-painted in many coats of white. Close up, their painted skin appeared spotty, even wart-like a commentary on the social, psychological, and environmental consequences of man s will to bend nature. Pope.L chose the palm trees for this installation as local scenery, and in his noir vision of Los Angeles, the city s most prevalent icons of tropical paradise wore a toxic costume that would eventually destroy them. Past The Grove, viewers saw a free-standing screening wall reminiscent of old-fashioned drive-in theaters or highway billboards. On screen, APHOV featured as its protagonist a masked man resembling former Secretary of Defense Donald Rumsfeld, weeping streams of artificial blood. The blood pooled on the floor of the man s lair, a makeshift archive piled high with cardboard storage boxes of videotapes organized by date. The rest of the on-screen clutter expanded into the real space of the museum, including furniture and the mysterious, locked industrial doors through which one could only peek at an endless warren of boxes and blood. Beyond the dark and disorder of the first two works, The Semen Pictures were bathed in light. Pope.L s final intervention consisted of digital scans of magazine collages covered with organic substances within light boxes. These portraits, altered by the addition of semen, hair, milk, coffee grounds, urine, and blood, balanced readymade pop culture with the natural and handmade, and exemplified Pope.L s artistic drive to create complex layers of image and meaning."^^ ; + + "William Pope.L: Art After White People: Time, Trees, Celluloid"^^ ; + + . + + + + ; + + "Isa Melsheimer: Vermilion Sands and Other Stories from the Neon West is a never-before-seen installation that explores Hollywood s cinematic heyday and its motion picture icons, investigating notions of glamour and luxury as they relate to characters, architecture, and locations in and around Los Angeles. Santa Monica Museum of Art Deputy Director Lisa Melandri is curator of Vermilion Sands and Other Stories from the Neon West, in which the artist utilizes commonplace, and largely domestic materials, to create site-specific environments, including a mixture of altered and embroidered t-shirts, live plants, paper, pearls, yarn constructions, and cast concrete sculptures. During a 2007 residency at Villa Aurora a nonprofit organization located in Pacific Palisades dedicated to German-American cultural exchange Melsheimer became interested in Los Angeles s landscape and architecture, as well as the fictional and historical characters that inhabit these spaces. Influenced by classic Hollywood films such as David Lynch s Mulholland Drive and Billy Wilder s Sunset Boulevard, and the stories of James Graham Ballard, Melsheimer examines the affects of architecture and location on Los Angeles s glamorized cinematic figures; as well as the demise of those figures from lifestyles of fame and financial success. Melsheimer is particularly drawn to examples such as the Salton Sea, a former glamorous resort area new Palm Springs that has since degenerated into a kind of wasteland, and the character Norma Desmond and her shabby mansion from Wilder s iconic film. With Vermilion Sands and Other Stories from the Neon West, Melsheimer wants viewers to be aware that architecture is always representative of ideas or subjects that permeate society. She asks viewers to consider: Which fictional and historical subjects are admired within Los Angeles? Why do residents emigrate from Los Angeles? What aesthetics characterize Los Angeles s buildings; and what sentiments manifest in the region s architecture? Some content may be deemed inappropriate for younger viewers. Support for Isa Melsheimer: Vermilion Sands and Other Stories from the Neon West has been provided in part by Institut für Auslandsbeziehungen e.V.  About the artist:Melsheimer (b. 1968) was born in Neuss, Germany, and lives and works in Berlin. She attended the Hochschule der Künste (Academy of Fine Arts), Berlin, and completed a master class with painter Georg Baselitz. Melsheimer s work has been shown in solo exhibitions in museums and galleries throughout Europe, including in Paris at Galerie Jocelyn Wolff, in Nîmes at Musée d Art Contemporain, in Vienna at Galerie Nächst St. Stephan, in Berlin at Esther Schipper Gallery, in Switzerland at Kunsthaus Langenthal, in Maastricht, Netherlands at Bonnefantenmuseum, and in Marfa, Texas at The Chinati Foundation. Melsheimer s work has also been presented in numerous group exhibitions, including in Chamarande, France, at Domaine Départemental de Chamarande, in Berlin at Kunsthalle Autocenter, in Copenhagen at the Institute of Contemporary Art, in Istanbul at BM SUMA Contemporary Art Center, in Mexico City at Museo Tamayo, and in Philadelphia at Cereal Art Project Room."^^ ; + + "Isa Melsheimer: Vermilion Sands and Other Stories from the Neon West"^^ ; + + . + + - . + ; + + . + + + + "Dark Places explored the subtle interconnections between memory and social space and the possibility that traces of events are scripted into the fabric of our physical and psychological environment. Conceived and organized by guest curator Joshua Decter, and designed by the architectural collective servo, the exhibition featured the work of 75 distinguished artists and architects from around the world. Dark Places brought an alternative, experimental approach to the organization and installation of a group exhibition. It was conceived to reanimate relationships among art, architecture, media, and technological design, and to generate a new kind of immersive environment the hallucination of a futuristic noir scenario inside the frame of the museum. The exhibition asked: What, and where, are the enigmatic places in our urban and suburban worlds? How do we navigate through ambiguous social spaces? How do we experience the historical traces of complex and disturbing events within our homes, neighborhoods, and cities? What are the atmospheric, psychological, and political conditions that define our constructed environments? How are we affected by fear, violence, and paranoia, expressed through such technologies as surveillance and the Internet, as well as by the popular media? And, how might we reappropriate these actual and fictional narratives to achieve social, political, and spiritual transformation to illuminate the dark places? Participants who responded to these questions by making new work, or selecting or modifying existing work to be recontextualized within the exhibition in digital form included: Acconci Studio, Franz Ackermann, Francis Alÿs, Michael Ashkin, Jaime Ávila Ferrer, Dennis Balk, Matthew Barney, Judith Barry, Thomas Bayrle, Julie Becker, Douglas Blau, Monica Bonvicini, Daniel Bozhkov, Mark Bradford, Troy Brauntuch, François Bucher, Sophie Calle, Eduardo Consuegra, Jordan Crandall, Teddy Cruz, Jonas Dahlberg, Stephen Dean, Anne Deleporte, Diller + Scofidio, Sam Durant, Anna Gaskell, Douglas Gordon, gruppo A12, Fariba Hajamadi, Pablo Helguera, Noritoshi Hirakawa, Julian Hoeber, Emily Jacir, Christian Jankowski, Vincent Johnson, Mitchell Kane, Joachim Koester, Glenn Ligon, Dorit Margreiter, Fiorenza Menini, John Miller, Muntadas, Paul Myoda, Yoshua Okon, Catherine Opie, Lucy Orta, Hirsch Perlman, Raymond Pettibon, Richard Phillips, Richard Prince, Raqs Media Collective, Miguel Rio Branco, Alexis Rockman, Julian Rosefeldt, Aura Rosenberg, Peter Rostovsky, Sam Samore, Paige Sarlin, Julia Scher, Gregor Schneider, Allan Sekula, Andres Serrano, Nedko Solakov, Doron Solomons, Wolfgang Staehle, Javier Tellez, Anton Vidokle, Eyal Weizman/Nadav Harel, James Welling, Wim Wenders, Judi Werthein, Charlie White, Måns Wrange, Jody Zellen, and Heimo Zobernig. Decter organized the varied submissions painting, photography, drawing, video, film, animation, architecture, and film clips into eight curatorial sequences that generated unique, visual correspondences and thematic linkages. Upon entering the museum space, the viewer encountered a hovering, translucent armature with elongated vacuum-formed plastic strands that delivered the succession of scripted digitized works through four front projectors, four rear projectors, and a network of glowing fiber optics a delivery mechanism that echoed and embodied the themes of the work presented."^^ ; + + "Dark Places"^^ ; + + . + + + + ; + + "Syrop conceived this project in 1974 based on the experience of mistaking one person for another. Building upon past research and projects, Syrop arranged hundreds of portraits from high-school yearbooks in systematic groupings based upon similar facial characteristics. The result was a network of faces that the viewer experienced as meandering, interwoven pathways, or as fields of overlapping and dissolving characteristics."^^ ; + + "Mitchell Syrop: Untitled Artist Project Artist Project Series"^^ ; + + . @@ -926,71 +1126,83 @@ . - - - . + + + ; + + "Roush s oblique series of discrete installations made reference to the interior and exterior structural realities of the Frank Gehry-designed museum. Building on the viewer s associations with interlinking and referential objects, and dealing with contrasting forms of transparency and light, Roush created an ineffable sense of magnitude and volume, allowing viewers to feel the ephemeral as a material presence."^^ ; + + "Linda Roush: Light Joining"^^ ; + + . - + - . + . - - - "Sue Coe"^^ ; - - . + + + . - + - ; + ; - "In painted murals and sculptural shrines dedicated to jazz legends, Wyatt s installation depicted the history and significance of the Los Angeles jazz movement. The piece paid homage to such musical pioneers as Buddy Collette, Teddy Edwards, Billie Holiday, Art Tatum, Dexter Gordon, and Ivy Anderson, and the clubs they made famous: the Downbeat Room, Club Alabam, Last Word, and the Jungle Room."^^ ; + "Featuring a wide array of objects from the vast collections of life-long hoarder Ken Brecher, The Little Room of Epiphanies was an homage to the ephemeral, the overlooked, and the undervalued about not forgetting to look down, about slipping things into one s pocket, about finding treasure that has no worldly value except the power to change your life. Brecher, a social anthropologist by training and former museum director, has amassed an empire of objects that represent an idealized view of material culture a nonhierarchical world in which everything is considered and appreciated for its meaning and not its market value. Reflecting Brecher s life as an inveterate traveler, the trail of artifacts took us from his parents bedside in Highland Park, Illinois, to the Mato Grosso in Brazil and the sand dunes of the Sahara. Epiphanies also included a video by Jonathan Dayton and Valerie Faris."^^ ; - "Richard Wyatt: Central Avenue Jazz Artist Project Series"^^ ; + "Ken Brecher: The Little Room of Epiphanies"^^ ; . - + - ; + ; - "Between Worlds exhibited the work of sixteen photographers from across Mexico whose images document the diversity of contemporary Mexican culture. The accompanying 145-page catalog featured contributions by five Mexican writers who amplified the strong cultural traditions presented through the imagery. Between Worlds was curated by Trisha Ziff, organized by Pilar Perez, and circulated by Curatorial Assistance."^^ ; + "Dugout II (Hold on to the House), the most recent episode in an ongoing epic by artist, musician, and playwright, Terry Allen, is a love story set in 1950s America that investigates the invention of memory through sculpture, music, film, and theater. Allen describes Dugout II as an audio/visual investigation into the end of the world, how memory blows up and changes everything, and how atomic monsters take over the earth a kind of Supernatural-Jazz-History-Ghost-Blood-Fiction. The exhibition at the Santa Monica Museum of Art was presented as art of a larger, multimedia, collaborative project, Dugout, which included a complementary exhibition at L.A. Louver Gallery, a performance at L.A. Theatre Works, and a lecture at The LACMA Institute for Art and Cultures."^^ ; - "Between Worlds: Contemporary Mexican Photography"^^ ; + "Terry Allen: Dugout II (Hold on to the House)"^^ ; . - + + + . + + + + ; - "This exhibition, presenting fifteen years of work by the Los Angeles-born artist Jeffrey Vallance, was inspired by The World of Jeffrey Vallance (Collected Writings 1978-1994), published by Art Issues Press. The survey included painting, sculpture, installation, video, drawings, prints, and text, presented topically in a succession of room installations. Among these were galleries devoted to Blinky, the Friendly Hen; the artist s travels to faraway places such as Iceland and Polynesia; and his in-depth research on the Shroud of Turin and other Christian relics."^^ ; + "Reflecting Perna s interest in science fiction and utopian visions of society, this installation fictionalized the space of a science-fiction movie set in order to suspend, and perhaps momentarily reverse, assumptions of what is and isn t fiction. The exhibition was made possible in part by the Instituto Italiano di Cultura, the cultural branch of the Italian Consulate General in Los Angeles, and the cultural office of the Italian Ministry of Foreign Affairs."^^ ; - "The World of Jeffrey Vallance"^^ ; + "Luciano Perna: Science/Fiction A Movie Studio Set, Ahead of Schedule, and Camera Shy"^^ ; . + + + "Sue Coe"^^ ; + + . + "3 × Abstraction"^^ ; . - - - ; - - "London video artist Mark Leckey presented Fiorucci Made Me Hardcore, a large projection documenting the history of dance culture in the U.K., from northern soul clubs to acid house raves. Sound-tracked by the artist s own music, the collaged video footage enveloped viewers in a heady vortex of rhythm and mood, while shifts in style, gesture, and sound underlined the changing cultural and political landscape."^^ ; - - "Mark Leckey: Fiorucci Made Me Hardcore"^^ ; - - . + + + . - + - ; + ; - "Initiated by the French Ministry of Foreign Affairs and the offices of Cultural Services in Los Angeles, San Francisco, and New York, Côte Ouest was a collaborative presentation of contemporary French art, with exhibition sites in many of California s most prominent museums, universities, alternative spaces, and galleries. For SMMoA, Marie-Ange Guilleminot recreated her site-specific intervention, transformation parlor, where visitors took part in the creation of many tsuru origami (the famous birdlike symbol of the Hiroshima bombing), which were then fashioned into garlands and displayed at the Hiroshima Peace Memorial Museum in August 2000. SMMoA also presented the first U.S. survey of the work of Pierre Huyghe, whose renowned film and video deconstruct the process of cinema through the juxtaposition of real life and real time, emphasizing the impossibility of separating lived experience from its representation. Concurrently, SMMoA presented videos by young French artists selected by the Centre Georges Pompidou s New Media curator, Christine Van Assche."^^ ; + [] ; + + [] ; - "Marie-Ange Guilleminot and Pierre Huyghe: Côte Ouest"^^ ; + "Combustione: Alberto Burri and America"^^ ; . @@ -1000,29 +1212,37 @@ . - + - . - - - - ; - - . + . - - - . + + + ; + + "Fred Wilson: Objects and Installations, 1979-2000 represented a sustained aesthetic inquiry by a distinguished American artist into the relationship between art and the museum. Wilson s mock museum installations, into which he places provocative and beautifully rendered objects, explore the question of how the museum consciously or unconsciously perpetuates prejudice. The exhibition was organized by Maurice Berger and the Center for Art and Visual Culture, University of Maryland, Baltimore County."^^ ; + + "Fred Wilson: Objects and Installations, 1979-2000"^^ ; + + . - - - . + + + ; + + "Alison Saar s work explores freedom and choice, apathy and resistance. The Museum presented Traveling Light, Topsy Turvey, and Compton Nocturne, three monumental sculptures made of wood and bronze, some incorporating sound and moving images. These figurative hybrids are both human and mythic, sometimes blurring the line between popular culture and ancient mythologies. This exhibition also marked the West Coast premiere of Tree Souls, a striking sixteen-foot-high sculpture made from real trees, which was exhibited at the Brooklyn Museum in 1996."^^ ; + + "Alison Saar: Traveling Light, Topsy Turvey, Compton Nocturne, and Tree Souls Artist Project Series"^^ ; + + . - - - ; - - . + + + "This exhibition included sixty-two works by nine artists who blend international movements with unique personal expressions. The paintings acknowledged a debt to the history of Mexican art as they explored issues ranging from gender and sexuality to the sociopolitical soul of the artist in a developing nation. The exhibition was organized by Dr. Edward J. Sullivan, Chairman, Department of Fine Arts, New York University, and the Americas Society, New York."^^ ; + + "Aspects of Contemporary Mexican Painting"^^ ; + + . @@ -1030,27 +1250,25 @@ . - - - ; - - . - - + - ; + ; - "A video, sculpture, and sound installation by Native American artist James Luna, The Dream Hat Ritual represented a ceremonial site, replete with willow branches and a bonfire created from stacked video monitors. Luna, a self-described high-tech Indian storyteller, created an environment using slide projections, pop music, bird sounds, videos, and theatrical lighting effects that contrasted romantic and historical perceptions of Native American culture with modern-day, real-life sounds and images. Within this environment, life-sized figures made from cowboy hats, crutches, hairpieces, and boots suggested the physical hardships faced by Native American communities whose populations are ravaged by infirmities related to diabetes and alcoholism."^^ ; + "Kianja Strobert: Nothing to Do but Keep Going, the artist’s first solo museum exhibition, features a new, site-specific sculptural installation and a selection of recent abstract paintings that emphasize the influence of urban architecture on Strobert’s work. Her sculptures showcase the dynamic use of such materials as pumice, sand, flexible LED wire, concrete, cinderblocks, and gilded chicken bones—which she utilizes to explore architectural form and mark making. The exhibition also features select paintings on cinderblock that create textured, topographical surfaces, as well as a range of works on paper that recall finger painting, with smears in a palette of red, brown, and yellow. Kianja Strobert: Nothing to Do but Keep Going is organized by SMMoA s newly appointed curator-at-large Jeffrey Uslip.  Major support for Santa Monica Museum of Art exhibitions has been provided by The Andy Warhol Foundation for the Visual Arts. Additional funding has been provided by the City of Santa Monica and the Santa Monica Arts Commission; Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; Dean V. Ambrose; Good Works Foundation and Laura Donnelley; Abby Sher; Rosa and Bob Sinnott; The Audrey and Sydney Irmas Charitable Foundation; Marla and Jeffrey Michaels; Pasadena Art Alliance; and Frederick R. Weisman Art Foundation.  About the artist: Kianja Strobert was born in 1980 and lives and works in Hudson, New York. She earned a Bachelor’s of Arts degree from The School of the Art Institute of Chicago and a Master’s of Fine Arts degree from Yale University School of Art. Her work has been shown at The Studio Museum in Harlem, New York, as well as at galleries including Jack Tilton Gallery, and Zach Feuer Gallery, New York; and Vox Populi Gallery, Philadelphia. About the curator: Jeffrey Uslip (b. 1977) is a New York-based independent curator, who has organized exhibitions for PS1/MOMA, New York, Artists Space, New York, Columbia University’s Graduate School of Arts and Sciences, California State University, Los Angeles, and LAXART, Los Angeles. He is an online contributor to Art Forum, has lectured at the Whitney Museum of American Art, and is currently a doctoral candidate at The Institute of Fine Arts, New York University."^^ ; - "James Luna: The Dream Hat Ritual Artist Project Series"^^ ; + "Kianja Strobert: Nothing to Do but Keep Going"^^ ; . - - - "Allan Sekula"^^ ; + + + ; + + "Behind the Mask, an installation created for the museum s Focus Gallery by New York artist Luca Buvoli, was the tenth installment in Buvoli s ongoing series, Not a Superhero. The artist s infatuation with American superheroes began when he was a child living in Italy, and it continues in the form of his exploration of the relationship between human aspirations and the larger-than-life capabilities of superheroes. Composed of an artist s book, drawings, collages, and sculpture made from urban detritus (candy wrappers, bits of plastic, wire, and rags), Behind the Mask considered issues of individual, national, and universal identity in relation to the moral struggles of our time struggles that are characterized less by the conflict of good and evil than by ambiguity and guilt."^^ ; + + "Luca Buvoli: Behind the Mask Community Focus Gallery"^^ ; - . + . @@ -1058,183 +1276,173 @@ . - - - . - - + - "Mark Leckey"^^ ; + "Allan Sekula"^^ ; . - - - . - - - - . - - + - "Yoshitomo Nara"^^ ; + "Mark Leckey"^^ ; . - + - ; + ; - "Revenge Effects was a meditation on ecology and the aesthetics of control an exploration of the human impulse to manipulate nature for design purposes. Drezner s multimedia installation, a constructed formal allée, triggered viewer associations through an unabashedly synthetic (albeit elegant) form while making reference to nature s backlash the catastrophic blights and diseases that have afflicted numerous tree species over the past century. Drezner unveiled a chilling, yet practical alternative to our historical preoccupation with governing nature, one that acknowledges the extent to which our perceptions of nature are shaped by style."^^ ; + "Williams s installation of wall drawings, three-dimensional drawings, and traditional sculpture focused on issues of identity and conformity. Bringing her encyclopedic range of borrowed and created imagery to bear, Williams created objects that offered a haunting sense of familiarity even as they refused to be firmly anchored by memories of time or place."^^ ; - "Amy Drezner: Revenge Effects Blight Resistance Artist Project Series"^^ ; + "Megan Williams: Drawn from Memory Artist Project Series"^^ ; . - + - . + . - + - ; + ; - "Kianja Strobert: Nothing to Do but Keep Going, the artist’s first solo museum exhibition, features a new, site-specific sculptural installation and a selection of recent abstract paintings that emphasize the influence of urban architecture on Strobert’s work. Her sculptures showcase the dynamic use of such materials as pumice, sand, flexible LED wire, concrete, cinderblocks, and gilded chicken bones—which she utilizes to explore architectural form and mark making. The exhibition also features select paintings on cinderblock that create textured, topographical surfaces, as well as a range of works on paper that recall finger painting, with smears in a palette of red, brown, and yellow. Kianja Strobert: Nothing to Do but Keep Going is organized by SMMoA s newly appointed curator-at-large Jeffrey Uslip.  Major support for Santa Monica Museum of Art exhibitions has been provided by The Andy Warhol Foundation for the Visual Arts. Additional funding has been provided by the City of Santa Monica and the Santa Monica Arts Commission; Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; Dean V. Ambrose; Good Works Foundation and Laura Donnelley; Abby Sher; Rosa and Bob Sinnott; The Audrey and Sydney Irmas Charitable Foundation; Marla and Jeffrey Michaels; Pasadena Art Alliance; and Frederick R. Weisman Art Foundation.  About the artist: Kianja Strobert was born in 1980 and lives and works in Hudson, New York. She earned a Bachelor’s of Arts degree from The School of the Art Institute of Chicago and a Master’s of Fine Arts degree from Yale University School of Art. Her work has been shown at The Studio Museum in Harlem, New York, as well as at galleries including Jack Tilton Gallery, and Zach Feuer Gallery, New York; and Vox Populi Gallery, Philadelphia. About the curator: Jeffrey Uslip (b. 1977) is a New York-based independent curator, who has organized exhibitions for PS1/MOMA, New York, Artists Space, New York, Columbia University’s Graduate School of Arts and Sciences, California State University, Los Angeles, and LAXART, Los Angeles. He is an online contributor to Art Forum, has lectured at the Whitney Museum of American Art, and is currently a doctoral candidate at The Institute of Fine Arts, New York University."^^ ; + "Leavitt transformed the museum s main gallery into a theater with row seating, a proscenium stage, and a set resembling a suburban living room for this one-act play. An eccentric Rube Goldbergian contraption, engineered by the main character to embody his personal cosmology, became a source of conflict among the five characters, whose various needs were contradictorily affected by the protagonist s creation."^^ ; - "Kianja Strobert: Nothing to Do but Keep Going"^^ ; + "William Leavitt: Random Trees Artist Project Series"^^ ; . - - - . - - + - "Sandra Rowe"^^ ; + "Yoshitomo Nara"^^ ; . - + - ; + ; - "Bruce Pollock: Circling West is the artist s first solo museum exhibition and his West Coast debut. Pollock presents a series of seven 24 × 24 abstract oil paintings that are monochromatic explorations of a single subject matter. He has also created an expansive, site-specific wall drawing that offers a linear interpretation of the geometric scheme used in the paintings. Both the panoramic and the more compact works reveal the artist s fascination with mathematical systems and the recurring patterns and forms found in the natural world. Pollock animates the Project Room 2 space with fractal imagery, geometric structures, and circles, all in shifting levels of scale and density. The paintings are packed with ornate webs, honeycombs, and spirals, mimicking the logic of such organic forms as corals, mollusks, and plants. Each painting focuses on a limited color range; together the seven paintings comprise the spectrum of visible hues. The contrasting light and dark, warm and cool, and bright and dull color tones of these intense microcosms create the illusion of luminosity and deep space. The paint is applied in repeating fractal circles, producing shifting scales and intricate patterns that seem to change depending on the viewer s perspective. The wall drawing exudes a more free-flowing, outwardly directed energy. Its repeated system of patterns tumbles seemingly unimpeded towards all corners of the room, voraciously engulfing whatever surface it comes in contact with."^^ ; + "This exhibition of works by New Orleans artist Robert Tannen focused on his multidisciplinary work in sculpture, installation, urban design, and architecture, spanning the preceding thirty years. The presentation focused on ideas and the work as a creative activity rather than passive objects of consumption. Citizen Artist was organized by the Contemporary Art Center in New Orleans, Louisiana."^^ ; - "Bruce Pollock: Circling West"^^ ; + "Robert Tannen: Citizen Artist"^^ ; . - - - ; - - "Beatrice Wood: Career Woman–Drawings, Paintings, Vessels, and Objects offers a comprehensive survey and a new assessment of this emblematic California artist a scholarly, commemorative evaluation of Wood, whose extraordinary life and career traversed and contributed to the cultural and artistic highlights of the entire 20th century. SMMoA Executive Director Elsa Longhauser and Deputy Director Lisa Melandri are co-curators for the exhibition. Beatrice Wood: Career Woman is part of Pacific Standard Time: Art in L.A. 1945-1980. This unprecedented collaboration, initiated by the Getty, brings together more than sixty cultural institutions from across Southern California for six months beginning October 2011 to tell the story of the birth of the L.A. art scene. An artist who worked on both the East and West coasts and bridged gaps between areas as disparate as New York Dada and Southern California ceramics, Wood (1893-1998) was a vital contributor to the art scene of the period and is thus a key player in the Pacific Standard Time project. Beatrice Wood: Career Woman includes over 100 works of art. The exhibition begins with Wood s early Dada work, which includes drawings, paintings, posters, prints, and illustrated albums and travelogues. Wood first encountered Dada a primary creative and personal influence in New York, arising from her intimate friendships with Marcel Duchamp and the collectors Walter and Louise Arensberg. It was Dada that first inspired Wood to become an artist, and it shaped her creative thinking for the rest of her life. The exhibition also feature prominent examples of Wood s ceramics created from the 1940s until her death in 1998. Wood was exceptionally prolific, even given her remarkable longevity. She repeatedly investigated and revisited a number of subjects, forms, and materials over a 60- to 70-year period. Though Wood did not turn to ceramics until 1933 at the age of 40, she became an accomplished clay artist and went on to produce some of her most notable works well into her 90s. Her experimentation with ceramic glazing and firing was extraordinary, a compendium of clay technique. She first began to experiment with clay pieces that took the form of tiles or plates. By the 1980s, Wood was creating objects on a much larger scale, such as colossal goblets more than a foot tall and wide. The exhibition will survey the full range of her ceramics from the miniature to the large-scale, from the utilitarian to the decorative, and from the vessel to figurative sculpture. A fully-illustrated 144-page comprehensive catalog, published by the Santa Monica Museum of Art, accompanies the exhibition and offers a scholarly assessment of Beatrice Wood. This elegant publication includes 58 full-color plates, over 90 photographs, forward and acknowledgements by curators Elsa Longhauser and Lisa Melandri, original texts by Garth Clark, Kathleen Pyne and Jenni Sorkin, Wood s original diaries annotated and edited by Francis M. Naumann and Marie T. Keller, and a chronology by Lida M. Sunderland. The catalog s essays range from the examination of Wood s threshold position in early modernism, to her relationship with the Theosophical community in Ojai, as well as a technical evaluation of her work in clay. Wood began her life in art as a dilettante, and emerged a serious artist, nearly fifty years later. The accompanying writings illuminate the evolution of her work and document the art historical trajectory that delineates her vibrant contribution to the canon of Twentieth Century art. Wood created a complex, thoughtful, and inexhaustible oeuvre, one that is equal parts narrative and form, equal parts poetry and wit. Her irrepressible sensibility could be bold, audacious, insouciant, sexually charged, and at times biographical. This exhibition will honor Wood s indomitable spirit and dynamic artistic force, a pairing that produced a mature body of work that defines her importance as an artist. Watch the behind-the-scenes video of Beatrice Wood: Career Woman Drawings, Paintings, Vessels, and Objects. The exhibition and publication are underwritten by lead grants from the Getty Foundation. Generous support has also been provided by the LLWW Foundation. Additional support has been given by Rosa and Bob Sinnott; The Bluhm Family Foundation; Julie Chapgier and Brian Biel; the Frederick R. Weisman Art Foundation; Susie and Jaime Gesundheit; the Kayne Foundation; Ric Suzanne Kayne and Jenni, Maggie Saree; the Pasadena Art Alliance; and Brenda R. Potter. The exhibition was designed by potter Adam Silverman, partner and studio director of Heath Ceramics in Los Angeles. Beatrice Wood: Career Woman is part of Pacific Standard Time: Art in L.A., 1946-1980. Generous Support Provided By South Coast Plaza, The Coffee Bean Tea Leaf, Tiffany Co. John and Louise Bryson, David and Marianna Fisher, The Mohn Family Foundation, Anne and Jim Rothenberg, Elizabeth and Henry Segerstrom, Christina and Mark Siegel, Maria Hummer-Tuttle and Robert Holmes Tuttle Additional Support Provided By The Ahmanson Foundation, The Broad Art Foundation, California Community Foundation, The James Irvine Foundation, W. M. Keck Foundation, The Ralph M. Parsons Foundation, Sotheby s Click here for a full list of Pacific Standard Time sponsors About Pacific Standard Time: Art in L.A. 1945 1980 Pacific Standard Time is a collaboration of more than sixty cultural institutions across Southern California, coming together for six months beginning in October 2011 to tell the story of the birth of the Los Angeles art scene and how it became a major new force in the art world. Each institution will make its own contribution to this grand-scale story of artistic innovation and social change, told through a multitude of simultaneous exhibitions and programs. Exploring and celebrating the significance of the crucial post-World War II years through the tumultuous period of the 1960s and 70s, Pacific Standard Time encompasses developments from L.A. Pop to post-minimalism; from modernist architecture and design to multi-media installations; from the films of the African American L.A. Rebellion to the feminist activities of the Woman s Building; from ceramics to Chicano performance art; and from Japanese American design to the pioneering work of artists collectives. Initiated through $10 million in grants from the Getty Foundation, Pacific Standard Time involves cultural institutions of every size and character across Southern California, from Greater Los Angeles to San Diego and Santa Barbara to Palm Springs."^^ ; - - "Beatrice Wood: Career Woman–Drawings, Paintings, Vessels, and Objects"^^ ; + + + "Sandra Rowe"^^ ; - . + . - + - ; + ; - "Loren Holland s paintings lampoon assumptions about African American women. Her subjects are purposefully stylized to call attention to the way their real-life counterparts have been portrayed in the popular media as mysterious, exotic, sexual, even animalistic beings. Its title inspired by the Santana song of the same name, Black Magic Woman depicted three contemporary Santeria priestesses practicing in a spooky landscape filled with creeping mist. As with traditional representations of saints, each was surrounded by attributes. One, situated in a graveyard, conjured zombies with a nail-punctured human heart, poison from a blowfish, and the miraculous little blue pills that aid in raising the dead. Another, adopting the posture of someone who constantly works on a car in the street, turned her junker into a flourishing witch s garden. The last stood at her vanity, casting spells and hoping to capture the one she loves with the help of a voodoo doll, perfume, and face powder a combination of Chanel and Hershey s Cocoa. In all three cases, Holland fashioned images of creative, resourceful women whose magic is a metaphor for using everyday materials to make the proverbial silk purse from a sow s ear. Her lush and detailed figurative paintings are simultaneously literal and allegorical; they combine the eerie quality of nineteenth-century ghost stories with the visual language of a hip-hop music video. Black Magic Woman also alluded to a theatrical stage set, calling further attention to the artificial construction of the stereotypes it portrayed."^^ ; + "Garouste s large-scale acrylic paintings were created on panels of linen that recalled the textile materials used beginning in the Middle Ages and known in seventeenth and eighteenth-century Europe as indiennes. The exhibition also featured a selection of the artist s bronze sculptures and smaller works in watercolor. Curated by Marie Claude-Beaud, founder and Director of the Cartier Foundation for Contemporary Art, Les Indiennes was the first one-person show of Garouste s work on the West Coast."^^ ; - "Loren Holland: Black Magic Woman"^^ ; + "Gerard Garouste: Les Indiennes"^^ ; . - - - . - - + - ; + ; - "Extending Jo Ann Callis s ruminations on the home, Domestic Setups consisted of a series of small-scale, color photographs depicting household scenes particularly beds and chairs that Callis had modeled from clay, covered with brightly colored flocking, and arranged to resemble tiny, stage-like rooms. Callis s interest in photography s ability to convey a sense of physical immediacy was evident in these photographs, in which the furnishings suggest the psychological lives of imagined inhabitants through the lively dynamics of color, shape, texture, and arrangement."^^ ; + "Daniel Cummings: Recent Paintings is the artist s first museum exhibition. Cummings (b. 1980) is a graduate of the MFA program at UCLA in sculpture, where he transferred his interest in 3-dimensional objects to painting. His abstract work plays with space and color in a variety of scales. The result: Deceptively simple, formal compositions that belie complex figure/ground relationships. This exhibition will feature six new works that investigate surface and pictorial depth, as well as the space between abstraction and figuration. In works like Metro, figures seem to emerge from shadowy environments, alluding to deep space and movement. Works like Untitled-with its central, ghostly, soft pink blur placed on background shapes in orange, blue, white, and black-deftly combine loose and semi-transparent washes with carefully wrought pictorial structure. Born in Pittsburgh, he lives and works in Los Angeles."^^ ; - "Jo Ann Callis: Domestic Setups"^^ ; + "Daniel Cummings: Recent Paintings"^^ ; . - + - ; + ; - "Far Off the Beaten Path consisted of five richly textured monumental oil paintings from Annabel Livermore s Big Bend series. Livermore began the series in plein air fashion during three weekend drives along Texas Farm Road 170, on which she hauled along eighteen pieces of plywood. She laid the boards down on the ground before craggy scenes and quickly drew her impressions with a light mixture of oil paint and gasoline. During the next two years she worked on the pictures in her studio in El Paso. Unlike traditional plein air painting, Livermore s landscapes are filled with a brooding implied narrative fractured, jutting, cavernous, and glowing, they suggest a maelstrom brewing above and beneath the surface. Born and raised in the Upper Midwest, Livermore was a librarian before she retired to El Paso to paint. She has completed many radiant and lyrical bodies of work inspired by the cities and scenery of the region, including Jornada del Muerto, N Bar, and Desert Dream City. Her work was included in a 1999 exhibition at the Yale University Art Gallery titled Postmodern Transgressions: Art Beyond the Frame, and has been exhibited at the Cline Fine Art, Santa Fe, New Mexico; the Adair Margo Gallery, El Paso, Texas; and the Art Museum of South Texas, Corpus Christi, Texas."^^ ; + ""^^ , "Beatrice Wood: Career Woman–Drawings, Paintings, Vessels, and Objects offers a comprehensive survey and a new assessment of this emblematic California artist a scholarly, commemorative evaluation of Wood, whose extraordinary life and career traversed and contributed to the cultural and artistic highlights of the entire 20th century. SMMoA Executive Director Elsa Longhauser and Deputy Director Lisa Melandri are co-curators for the exhibition. Beatrice Wood: Career Woman is part of Pacific Standard Time: Art in L.A. 1945-1980. This unprecedented collaboration, initiated by the Getty, brings together more than sixty cultural institutions from across Southern California for six months beginning October 2011 to tell the story of the birth of the L.A. art scene. An artist who worked on both the East and West coasts and bridged gaps between areas as disparate as New York Dada and Southern California ceramics, Wood (1893-1998) was a vital contributor to the art scene of the period and is thus a key player in the Pacific Standard Time project. Beatrice Wood: Career Woman includes over 100 works of art. The exhibition begins with Wood s early Dada work, which includes drawings, paintings, posters, prints, and illustrated albums and travelogues. Wood first encountered Dada a primary creative and personal influence in New York, arising from her intimate friendships with Marcel Duchamp and the collectors Walter and Louise Arensberg. It was Dada that first inspired Wood to become an artist, and it shaped her creative thinking for the rest of her life. The exhibition also feature prominent examples of Wood s ceramics created from the 1940s until her death in 1998. Wood was exceptionally prolific, even given her remarkable longevity. She repeatedly investigated and revisited a number of subjects, forms, and materials over a 60- to 70-year period. Though Wood did not turn to ceramics until 1933 at the age of 40, she became an accomplished clay artist and went on to produce some of her most notable works well into her 90s. Her experimentation with ceramic glazing and firing was extraordinary, a compendium of clay technique. She first began to experiment with clay pieces that took the form of tiles or plates. By the 1980s, Wood was creating objects on a much larger scale, such as colossal goblets more than a foot tall and wide. The exhibition will survey the full range of her ceramics from the miniature to the large-scale, from the utilitarian to the decorative, and from the vessel to figurative sculpture. A fully-illustrated 144-page comprehensive catalog, published by the Santa Monica Museum of Art, accompanies the exhibition and offers a scholarly assessment of Beatrice Wood. This elegant publication includes 58 full-color plates, over 90 photographs, forward and acknowledgements by curators Elsa Longhauser and Lisa Melandri, original texts by Garth Clark, Kathleen Pyne and Jenni Sorkin, Wood s original diaries annotated and edited by Francis M. Naumann and Marie T. Keller, and a chronology by Lida M. Sunderland. The catalog s essays range from the examination of Wood s threshold position in early modernism, to her relationship with the Theosophical community in Ojai, as well as a technical evaluation of her work in clay. Wood began her life in art as a dilettante, and emerged a serious artist, nearly fifty years later. The accompanying writings illuminate the evolution of her work and document the art historical trajectory that delineates her vibrant contribution to the canon of Twentieth Century art. Wood created a complex, thoughtful, and inexhaustible oeuvre, one that is equal parts narrative and form, equal parts poetry and wit. Her irrepressible sensibility could be bold, audacious, insouciant, sexually charged, and at times biographical. This exhibition will honor Wood s indomitable spirit and dynamic artistic force, a pairing that produced a mature body of work that defines her importance as an artist. Watch the behind-the-scenes video of Beatrice Wood: Career Woman Drawings, Paintings, Vessels, and Objects. The exhibition and publication are underwritten by lead grants from the Getty Foundation. Generous support has also been provided by the LLWW Foundation. Additional support has been given by Rosa and Bob Sinnott; The Bluhm Family Foundation; Julie Chapgier and Brian Biel; the Frederick R. Weisman Art Foundation; Susie and Jaime Gesundheit; the Kayne Foundation; Ric Suzanne Kayne and Jenni, Maggie Saree; the Pasadena Art Alliance; and Brenda R. Potter. The exhibition was designed by potter Adam Silverman, partner and studio director of Heath Ceramics in Los Angeles. Beatrice Wood: Career Woman is part of Pacific Standard Time: Art in L.A., 1946-1980. Generous Support Provided By South Coast Plaza, The Coffee Bean Tea Leaf, Tiffany Co. John and Louise Bryson, David and Marianna Fisher, The Mohn Family Foundation, Anne and Jim Rothenberg, Elizabeth and Henry Segerstrom, Christina and Mark Siegel, Maria Hummer-Tuttle and Robert Holmes Tuttle Additional Support Provided By The Ahmanson Foundation, The Broad Art Foundation, California Community Foundation, The James Irvine Foundation, W. M. Keck Foundation, The Ralph M. Parsons Foundation, Sotheby s Click here for a full list of Pacific Standard Time sponsors About Pacific Standard Time: Art in L.A. 1945 1980 Pacific Standard Time is a collaboration of more than sixty cultural institutions across Southern California, coming together for six months beginning in October 2011 to tell the story of the birth of the Los Angeles art scene and how it became a major new force in the art world. Each institution will make its own contribution to this grand-scale story of artistic innovation and social change, told through a multitude of simultaneous exhibitions and programs. Exploring and celebrating the significance of the crucial post-World War II years through the tumultuous period of the 1960s and 70s, Pacific Standard Time encompasses developments from L.A. Pop to post-minimalism; from modernist architecture and design to multi-media installations; from the films of the African American L.A. Rebellion to the feminist activities of the Woman s Building; from ceramics to Chicano performance art; and from Japanese American design to the pioneering work of artists collectives. Initiated through $10 million in grants from the Getty Foundation, Pacific Standard Time involves cultural institutions of every size and character across Southern California, from Greater Los Angeles to San Diego and Santa Barbara to Palm Springs."^^ ; - "Far off the Beaten Path: Paintings by Annabel Livermore"^^ ; + "Beatrice Wood: Career Woman–Drawings, Paintings, Vessels, and Objects"^^ ; . - - - ; - - "Working in film, video, and installation, Diana Thater has been an innovator in her medium for 20 years and is best known for creating complex visual and spatial environments. Between Science and Magic is a simple, and beautiful, interpretation of movie magic -a century-old expression that still conjures the mythology of Hollywood filmmaking. Thater s project is conceived as a brief history of cinema. Thater s new and innovatory piece recreates, and repositions, a seminal moment in Los Angeles history, when downtown LA was being dreamed into a gilded metropolis and a theater district was built to rival New York s Great White Way. Renowned magician Greg Wilson appears as if filmed within the famed Los Angeles Theatre, the most elaborate of the movie palaces built between 1911 and 1931 on Los Angeles s now-defunct theater row. Thus, the viewer experiences a palpable tension between past and present. The repeated performance of an archetypal magic trick-pulling a rabbit out of a hat-is captured in tones of black, white, and grey; only the magician s skin tone and the rabbit s eyes have a trace of color. A pioneering filmmaker, Thater s work is held in many public collections including the Solomon R. Guggenheim Museum, New York; Tate, London; the Whitney Museum of American Art, New York; the Art Institute of Chicago; and the Museum of Contemporary Art, Los Angeles. She has been the subject of solo exhibitions at such prestigious institutions as the Vienna Secession; The Museum of Modern Art, New York; the Kunsthalle Basel; and The Renaissance Society, Chicago. Most recently, Thater s gorillagorillagorilla-a poignant study of human and animal behavior-was premiered at the Kunsthaus Graz, in collaboration with the Museum of Natural History in London, to celebrate the bicentenary of Charles Darwin s birth. Between Science and Magic is Thater s first solo exhibition in Los Angeles in over 10 years. Support for the exhibition is generously provided by The Broad Art Foundation, The Audrey and Sydney Irmas Charitable Foundation, and The Suzanne Nora Johnson and David Gordon Johnson Foundation. Related Links:"^^ ; - - "Diana Thater: Between Science and Magic"^^ ; - - . + + + ; + + . - + - . + ; + + . - Marking the first Southern California museum exhibition for Richard Carter and Margaret Pezalla-Granlund, Iceberg presented two independent bodies of work about a topic that has long captivated artists. Carter s paintings and drawings of icebergs ranged in size from small to monumental and revealed the haunting beauty, dramatic sculptural quality, and unique character of individual icebergs—from the poetic and atmospheric to the stark and foreboding. Pezalla-Granlund s iceberg sculptures, formed from paper and foam core, were fragile and irregular, lightweight and easily crushed—in purposeful opposition to their real-world counterparts. Suspended from the ceiling, five icebergs of various dimensions floated flat side up with their asymmetrical, jutting edges extending towards the floor. In the intimate space of Project Room 1, the two treatments resonated to immerse the viewer in the awe and mystery of icebergs.> - - ; - - "event_description\"> \t\t\t\t\t\t\t\t\tMarking the first Southern California museum exhibition for Richard Carter and Margaret Pezalla-Granlund, Iceberg presented two independent bodies of work about a topic that has long captivated artists. Carter s paintings and drawings of icebergs ranged in size from small to monumental and revealed the haunting beauty, dramatic sculptural quality, and unique character of individual icebergs—from the poetic and atmospheric to the stark and foreboding. Pezalla-Granlund s iceberg sculptures, formed from paper and foam core, were fragile and irregular, lightweight and easily crushed—in purposeful opposition to their real-world counterparts. Suspended from the ceiling, five icebergs of various dimensions floated flat side up with their asymmetrical, jutting edges extending towards the floor. In the intimate space of Project Room 1, the two treatments resonated to immerse the viewer in the awe and mystery of icebergs."^^ ; - - "Richard Carter and Margaret Pezalla-Granlund: Iceberg"^^ ; - - . + + + . - - - ; + + + . + + - "With the installation International Style, Melbourne artist Callum Morton continued his investigations into the relationship between private and public space. This new work referenced Mies van der Rohe s Farnsworth House (built in Illinois, 1945-1950), known at the time as a new vision of art and life. By reconstructing a seminal model of Bauhaus design within the Museum, Morton commented on the suburban framework that characterizes Los Angeles, Melbourne, and other urban centers, and on increasingly mobile lifestyles that engender distracted or incidental modes of perception."^^ ; + "Ant Farm 1968-1978 marked the first major museum retrospective of the Ant Farm collective s underground architecture, video, performance, and installation. Committed to working outside traditional systems, core members Doug Michels, Chip Lord, and Curtis Schreier riffed off, puckishly chided, and embraced themes of contemporary pop culture especially cars, space exploration, and the future in a way that presaged the work of many later artists and radical thinkers. Ant Farm was responsible for such iconic works as Cadillac Ranch (1974), a modern Stonehenge of ten mid-century Cadillacs buried nose down, and Media Burn (July 4, 1975), in which artist-dummies Michels and Schreier drove the Phantom Dream Car, a customized 1959 Cadillac convertible, through a wall of flaming televisions. The exhibition included the ICE-9 inflatable, a visual timeline of the collective, blueprints, publications, drawings, collages, architectural models, illustrative video clips, and a video retrospective from the Pacific Film Archive, as well as other documentary material and ephemera."^^ ; - "Callum Morton: International Style"^^ ; + "Ant Farm 1968-1978"^^ ; . - + + + ; + + . + + + + . + + + + . + + + + ; + + . + + + + ; + + . + + - ; + ; - "What began twenty years ago as a temporary assignment to provide an art program for learning-disabled students became an internationally recognized collaborative force known as Tim Rollins + K.O.S. Rollins works with Kids of Survival to create contemporary art that is simultaneously individual and collaborative, as concerned with content as image, and involves the teaching of great books as well as great artists. For SMMoA, Rollins led a three-day workshop with twelve youths from the outreach program, Virginia Avenue Park Project, which culminated in an exhibition of poetic and fanciful artwork based on William Shakespeare s A Midsummer Night s Dream."^^ ; + "Georgi Tushev: Strange Attractor presents paintings and a work on paper that investigate the effects of oil paint when exposed to extreme magnetic fields. Tushev s signature works explore the dynamism of pigment, the physical possibilities of paint, and the transformation of matter. He uses pigments that contain high concentrations of iron that, when exposed to magnets, create textured, three-dimensional surfaces, where paint seemingly explodes off the picture plane. Tushev s works on paper are made through a similar technique, though in water, where the magnetic fields separate the watercolor pigments into areas of black, white, and gray and create concentric rings and circular patterns. Tushev s abstract pictorial space is evocative of natural forms and biological processes. On the macro level, the work appears geological, celestial like lunar terrain. On the micro level, it suggests a view from under the microscope of cell division and mitosis. Tushev s method is inherently experimental; his compositions are subject to varying degrees of chance and instability. His long-time scientific testing of material has resulted in works that are arresting in form and astonishing in process. Strange Attractor is the first Los Angeles show for Tushev and his debut museum exhibition; it also marks the inauguration of NY/LA, the Museum s new exhibition series that connects contemporary art on both coasts. Strange Attractor is organized by New York-based curator Jeffrey Uslip. Tushev (b. 1969) was born in Bulgaria and lives and works in New York City. He earned a graduate degree from the National Academy of Fine Arts, Sofia, Bulgaria, and completed a residency at the Santa Fe Art Institute, New Mexico, and a Master Class of Painting in Amsterdam with painter Markus Lupertz. Tushev s work has been represented in solo exhibitions in San Francisco at Noma Gallery and in Sofia, Bulgaria, at XXL Gallery. Support for Georgi Tushev: Strange Attractor has been provided in part by Peter Gelles and Eve Steele Gelles. NY/LA: A New, Annual Exhibition Series"^^ ; - "Tim Rollins + K.O.S.: The Virginia Avenue Park Project: A Midsummer Night s Dream"^^ ; + "Georgi Tushev: Strange Attractor"^^ ; . - - - ; + - "This first large-scale museum exhibition of Albuquerque s work included paintings, sculpture, installations, drawings, and documentation of the artist s environmental and ephemeral work. The exhibition was initiated and sponsored by the Fellows of Contemporary Art and organized by Henry T. Hopkins of the Frederick R. Weisman Art Foundation; it was accompanied by a catalog featuring thirty-three full-color photographs."^^ ; + "INCOGNITO, the Santa Monica Museum of Art s highly anticipated annual art exhibition and benefit sale, returned for its fifth year on Saturday, May 2, 2009. The element of surprise that underlies INCOGNITO reflects the essence of discovery that inspires SMMoA s exhibitions, education, and outreach programs. All proceeds directly support the museum, which in 2008 celebrated two decades of creative accomplishment. The annual benefit has raised nearly $1.25 million in its five-year history. Attendees from sophisticated art supporters to first-time collectors, artists, and art enthusiasts are encouraged to trust their instincts to guide their selections, as works are signed on the back and artist identities are revealed only after purchase. In 2009, nearly 700 art enthusiasts mingled among the 650 works from 500 artists the year saw an unprecedented level of participation from iconic and emerging artists from Los Angeles and worldwide. In honor of INCOGNITO s fifth anniversary, John Baldessari designed an extraordinary logo that represents the spirit of this groundbreaking event. INCOGNITO 2009 Participating Artists: Luciana Abait, Gerardo Yepiz Acamonchi, Reverend Ethan Acres, Robert Acuna, Lisa Adams, Nick Agid, Lynn Aldrich, Peter Alexander, Cynthia Alexander, Terry Allen, Rachel Allen, Jami Allen-Snyder, Sophia Allison, Marcos Alvarez, Fumiko Amano, Kathryn Andrews, Eleanor Antin, Carolyn Applegate, Edgar Arceneaux, Oliver Arms, Skip Arnold, Carla Arocha, Joshua Aster, Karen Atkinson, Atopia Architecture, Chad Attie, Donald Baechler, Hilary Baker, John Baldessari, Glen Baldridge, Judie Bamber, Mely Barragan, Ray Barrie, Slater Barron, Judith Barry, Gary Baseman, Dan Bayles, Martin Beck, Tina Beebe, Quinton Bemiller, Tom Benedek, Billy Al Bengston, Sharon Ben-Tal, Jodie Berry, Guillermo Bert, Mariella Bettineschi, Hisham Bharoocha, Joe Biel, Sanford Biggers, Enid Baxter Blader, Alvaro Blancarte, Daniel Bohbot, Lauren Bon, Jill Bonovitz, Derek Boshier, Janet Bothne, Mark Bradford, Leonardo Bravo, Calef Brown, Edgar Bryan, Jeremy Burleson, Bruce Busby, Luke Butler, Kristin Calabrese, Huguette Caland, Joshua Callaghan, Clayton Campbell, Giorgio Carlevaro, Barbara Carrasco, Karen Carson, Scott Marvel Cassidy, Carter Carter, Richard Carter, Jamison Carter, Cole Case, Carmela Castrejon, Enrique Castrejon, Jennifer Celio, Alida Cervantes, Exene Cervenka, Matt Chambers, Jamie Chan, Jeff Charbonneau Eliza French, Fritz Chesnut, Mary Christiansen, Wayne Coe, Greg Colson, Matt Connors, Vanessa Conte, Michael Coughlan, Xavier Cazares Cortez, Erin Cosgrove, Lori Cozen-Geller, Steve Craig, Meg Cranston, Thomas Alan Cronk, Hugo Crosthwaite, Adam Davis, Jay Davis, Len Davis, Tony de Carlo, Raoul de la Sota, Mara De Luca, Michael Dee, Steve DeGroodt, Tony DeLap, Jane Dickson, Ann Diener, Laddie John Dill, Guy Dill, Abby Donovan, Mimi Drop, Sean Duffy, Barry Dukoff, Martin Durazo, Anna Dusi, Mark Dutcher, Mari Eastman, Ashley McLean Emenegger, Elizabeth Enders, Noah Erenberg, Samuel Erenberg, Carol Es, Marion Estes, Vidal Pinto Estrada, Ned Evans, Kota Ezawa, Mollie Favour, Diane Fenster, Carolyn Fernandez, Bruria Finkel, Chris Finley, Urs Fischer, Kim Fisher, Ed Flynn, Kianga Ford, Simone Forti, Andrew Foster, Bryan Freeny, Jona Frank, Terri Friedman, Gajin Fujita, Caroline Furr, Joe Fyfe, Francesca Gabbiani, Charles Gaines, Steve Galloway, Harry Gamboa, Jr., Corina Gamma, Charles Garabedian, Rico Gatson, Jordan Gaunce, Megan Geckler, Ana Marini Genzon, Lawrence Gipe, Milton Glaser, Michael Glier, Dan Goldman, Piero Golia, Marcelino Goncalves, Yolanda Gonzalez, Joe Goode, Michelle Grabner, Alexandra Grant, Cameron Gray, Phyllis Green, Matt Greene, Mark Steven Greenfield, Margaret Griffith, Johan Grimonprez, Gronk, Iva Gueorguieva, Raul Guerrero, Shane Guffogg, Jody Guralnick, Mary Addison Hackett, Lia Halloran, Nancy Jean Hancock, Lynn Hanson, Willie Harris, Kira Lynn Harris, Karen Harter, Doug Harvey, Edgar Heap of Birds, Deborah Hede, Matthew Heller, Roger Herman, Pixie Herms, George Herms, Carlos Hernandez, Katie Herzog, Matthew Higgs, Gilah Yelin Hirsch, Thomas Hirschhorn, Asuka Hisa, Richard Hoblock, Julian Hoeber, Loren Holland, Evan Holloway, Cadillac Holmes, Violet Hopkins, Channa Horwitz, James Howell, Darcy Huebler, Salomon Huerta, David Huffman, Sara Hunsucker, Dusadee Huntrakul, Jessica Hutchins, Eva Hyam, Charles Irvin, Mac James, Max Jansons, Ellen Jantzen, Michael Jantzen, Amparo Jelsma, Greg Jezewski, Vincent Galen Johnson, Matt Johnson, Sharon Kagan, Glenn Kaino, Yoichi Kawamura, Matt Keegan, Szajna Kellman, Mary Kelly, Arnold J. Kemp, Brian Kennon, Kristi Kent, Martin Kersels, Linda King, Kaitlin Kirker, Julie Kirkpatrick, Bill Kleiman, Patricia Knop, Alice Konitz, Olga Koumoundouros, Thomas Kovachevich, Joyce Kozloff, Marcus Kuiland-Nazario, Royce Kunze, Alan Kupchick, Suzy Lake, Julia Latane, Caroline Lathan-Stiefel, Evelyn Lauder, Mimi Lauter, Lauren Lavitt, Diane Lavoie, Brendan Leech, Tom Leeser, Max Lesser, Joshua Levine, Les Levine, Sharon Levy, John Oliver Lewis, Clarence Lin, Jed Lind, Chris Lipomi, Annabel Livermore, Jay Lizo, Karen Lofgren, William Longhauser, Mara Lonner, Renee Lotenero, Richard Louderback, Jean Lowe, John Luebtow, Heriberto Luna, Mela M., Kim MacConnel, Nancy Macko, Christina Madans, Monica Majoli, Constance Mallinson, Daniel Maltzman, Becca Mann, Daniel Marlos, Hudson Marquez, Luigia Martelloni, Virgil Marti, Jessica McCambly, Kim McCarty, Robin McCauley, David McDonald, Rodney McMillian, Christina McPhee, Blue McRight, Rob Mellor, Adrian Meraz, Gretchen Mercedes, Arnold Mesches, Sam Messer, James Miller, Brad Miller, John Miller, Adia Millett, Yunhee Min, Jason Miracle, Robin Mitchell, Bobbie Moline-Kramer, Nancy Monk, Lester Monzon, Dominique Moody, Angeles Moreno, Florian Morlat, Jim Morphesis, Rebecca Morris, Andy Moses, Ed Moses, Joshua Mosley, Avigail Moss, Carter Mull, Dave Muller, Thomas Muller, Manfred Muller, Doug Murphy, Hillary Mushkin, Tucker Neel, Geraldine Neuwirth, Kori Newkirk, Jessica Nicol, Margaret Nielsen, Leonard Nimoy, Danial Nord, Laurie Nye, Chris Oatey, Ruben Ochoa, Matthew Offenbacher, Lorcan O Herlihy, John Okulick, Chris Oliveria, Michael O Malley, Pat O Neill, Yoko Ono, Kaz Oshiro, Jamie Ruiz Otis, John Outterbridge, Simon Ouwerkerk, Jim Ovelmen, Edward Carlo Pacio, Rosieta Pardo, Jeanne Patterson, Ebony G. Patterson, Rene Peralta, Luciano Perna, Renee Petropoulos, Raymond Pettibon, Margaret Pezalla-Granlund, Francis Pezza, Paul Pitsker, Bruce Pollock, Nancy Goslee Power, Lori Precious, Astrid Preston, Stephanie Pryor, Rosamond Purcell, Michael Queenland, Bill Radawec, Elsa Rady, Leta Ramos, Mel Ramos, C.E.B. Reas, David Reed, Miles Regis, Marco Rios, Elwood T. Risk, Ron Rizk, Lynn Robb, John Robertson, Walter Robinson, Jennifer Rochlin, Steve Roden, Brett Cody Rogers, Michael Rosenfeld, Rachel Rosenthal, Rachel J. Roske, Adam Ross, Richard Ross, Erika Rothenberg, Melanie Rothschild, Daniel Ruanova, Allen Ruppersberg, Ed Ruscha, Eddie Ruscha, Jr., Alison Saar, Lezley Saar, Betye Saar, Julia Scher, Shirley Sacks, Souther Salazar, Gwen Samuels, Ruth San Pietro, Adrian Sanchez, Juliao Sarmento, Larry Scharf, Christoph Schmidberger, Lothar Schmitz, Michael Schnorr, Kim Schoen, Kim Schoenstadt, Allison Schulnik, Barbara Schwan, Josh Schweitzer, Chloe Sells, Shelter Serra, Marie Sester, Tom Shannon, Jim Shaw, Peter Shire, Fran Siegel, Justin Siegel, James Siena, Elena Mary Siff, Tif Sigfrids, Richard David Sigmund, Elias Sime, Case Simmons Andrew Burke, Kristina Simonsen, Elizabeth Simonson, Francesco Siqueiros, Keith Sklar, Alex Slade, Rena Small, Barbara T. Smith, Joe Sola, Mariangeles Soto-Diaz, Alyson Souza, Brad Spence, Jeni Spota, Zachary Stadel, Ricky Swallow, Randi Malkin Steinberger, Jennifer Steinkamp, Coleen Sterritt, Mary Clare Stevens, Whitney Stolich, Don Suggs, May Sun, James Surls, Carl Swallow, Ricky Swallow, Ami Tallman, Henry Taylor, Stefon Taylor, Masami Teraoka, Anita Thacher, Mungo Thomson, Mark Todd, Ruben Ortiz Torres, IM Toth, Kerry Tribe, Melly Trochez, David Trulli, Devon T.S. Tsuno, Kim Tucker, Ike Ude, Carrie Ungerman, Miller Updegraff, Kaari Upson, Migdalia Valdes, Lesley Vance, Monique van Genderen, Alison Van Pelt, Jennifer Vanderpool, Ariane Vielmetter, Catherine Wagner, Keith Walsh, Gary Ward, Esther Pearl Watson, Mary Weatherford, Marnie Weber, Roger Weik, Ruth Weisberg, Eric Wesley, Brett Westfall, Benjamin White, Charlie White, Pae White, Patty Wickman, Cynthia Wiggins, Edward Walton Wilcox, William T. Wiley, Brian Wills, Steven Wolkoff, Eve Wood, Susan Woodruff, Miriam Wosk, Tom Wudl, Leslie Yagar, Rosha Yaghmai, Hiro Yamagata, Michiko Yao, Gülbin Yavuz, Liat Yossifor, Kevin and Kent Young, Liz Young, Buzz Yudell, Christine Zelinsky, Jody Zellen, Sharon Zeugin, Bari Ziperstein, Kevin Zucker, Sarah Zwerling"^^ ; - "Lita Albuquerque: Reflections"^^ ; + "INCOGNITO 2009"^^ ; . - - - . - - + - ; + ; - "Identity Theft was the first show to feature the early, pioneering work of Eleanor Antin, Lynn Hershman, and Suzy Lake, artists who developed alter egos or false identities in photographs, videos, on stage, and in real-life performances. Conceived and guest-curated by Jori Finkel, the exhibition explored the history of role-playing in contemporary art through works created during the heyday of feminism. Identity Theft marked a number of milestones in the exposition of these artists works: the first-ever full presentation of Hershman s Roberta Breitmore project; the first screening of Antin s The Nurse and the Hijackers since September 11, 2001, when the disaster movie spoof (set on an airplane) was pulled from an exhibition in England; and the first U.S. showing of Lake s groundbreaking Transformations series since their 1975 debut. The exhibition included more than 100 photographs, videos, sculpture, and ephemera. In San Francisco in 1974, Lynn Hershman donned a wig and adopted a particular set of gestures to create an alter ego named Roberta Breitmore, a fictional character who grew so real over the years that she acquired her own driver s license, apartment, and romantic encounters. She also went to Weight Watchers, EST seminars, and psychotherapy. Hershman alternately describes Roberta as the underbelly of her own personality and a mirror held up to her culture. In Southern California starting in 1972, Eleanor Antin gave birth to three selves : a king, a ballerina, and a nurse, which she compared to Jungian archetypes. First, she painstakingly applied a beard and took to the streets of Solana Beach as a king attending his peoples. She next became her idealized female self a classical ballerina, practicing her technique every day so she could quasi-legitimately play the role in staged and taped performance. Later, in photographs and videos, she brought to life two different kinds of nurses: a flirtatious nurse worthy of any soap opera and a historical figure inspired by Florence Nightingale. Meanwhile, in Montreal, Detroit-born artist Suzy Lake investigated the cultural construction of character by trying on various roles for size. She posed as a glamorous fashion model for one series, which took the form of a slideshow (1972-75). She borrowed the facial features of her friends for another, which consists of large-scale pre-Photoshop manipulated photographs called Transformations (1974). She also applied cosmetics directly to the surface of photographic prints, recognizing makeup as the oil paint of the day, and her face as the canvas. Together, Antin, Hershman, and Lake were pioneers of what art critic Kim Levin once called the high-risk art of self-transformation. Their work challenged fixed notions of identity and femininity, raising questions of who we are and whom we can pass as. They combined acting skills with more traditional artmaking techniques to document their double lives in detail. They relied above all on the medium of photography, paving the way for conceptual artists to come, from Cindy Sherman to Nikki S. Lee."^^ ; + "Mickalene Thomas: Origin of the Universe is the first major solo museum exhibition for the New York-based multi-media artist. Best known for her elaborate paintings of African American women against the backdrop of décor recalled from her childhood, Thomas has created an all-new suite of works that examine aspects of landscape painting. She introduces a new model of trans-generational female empowerment as she explores interior and exterior environments in relation to the female figure. The exhibition opens at SMMoA on April 14, 2012 and continues through August 18, 2012. It will then travel to the Brooklyn Museum for display from September 28, 2012 to January 20, 2013. Thomas is best known for her bold enamel and acrylic paintings adorned with rhinestones, glitter, and bling. Her subjects seem to have stepped directly from a 1970s Blaxploitation film, yet Thomas s influences extend far beyond. Her oeuvre stems from her long study of art history and the classical genres of portraiture, landscape, and still life. Thomas s layered facture process begins with a photographic portrait that is translated into a collage, and ultimately reenvisioned as a painting. Her imagery comprises careful borrowings from art history and from contemporary popular culture. For Origin of the Universe, Thomas examines art historical constructs of feminine identity, sexuality, beauty, and power in 15 works in a variety of sizes, shapes, and media. Taking cues from Marcel Duchamp s Étant Donnés: 1° la chute d eau, 2° le gaz d éclairage (Given: 1. The Waterfall, 2. The Illuminating Gas) and Gustave Courbet s L Origine du Monde (The Origin of the World), Thomas presents the female figure as the origin of the universe, focusing on how the female body both engenders and inhabits landscape. The works on view are in communication with one another portraits of Qusuquzah and Din gaze out at modernist interiors and plein-air landscapes, all confronted by the artist s arresting recreations of Courbet s Origin. In nineteenth-century visual culture, black female sexuality functioned as something to be rejected or disparaged, but Thomas reconfigures these historical tropes into contemporary statements of empowerment. By casting African American women as the heroines of her works, she makes a profound statement regarding gender and racial identity. Thomas s dialogue with Courbet and Duchamp is a strong reclamation of history, reasserting the subjective nature of beauty. In addition to her paintings and photographs, she will create an installation in SMMoA s Project Room 1, to reinvent Étant Donnés, where the peep show reveals the true surprise of a 70s-style paneled interior in the place of Duchamp s splayed female body. Some content may be deemed inappropriate for younger viewers. Mickalene Thomas was born in 1971. She earned a Bachelor s of Fine Arts degree from Pratt Institute and a Master s of Fine Arts from Yale University. She has participated in residency programs at the Versailles Foundation Munn Artists Program, Giverny, France, and the Studio Museum in Harlem, New York. Her work has been shown in group exhibitions at the Museum of Contemporary Art Detroit, The Renaissance Society, Chicago, and MoMA PS1, New York, and is included in the important collections of the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; the National Portrait Gallery, Smithsonian Institution, Washington, D.C. the Whitney Museum of American Art, New York; the Art Institute of Chicago; The Museum of Fine Arts Boston; and the San Francisco Museum of Modern Art. Mickalene Thomas: Origin of the Universe is organized by the Santa Monica Museum of Art; SMMoA Deputy Director Lisa Melandri is the exhibition curator. The exhibition will be accompanied by a series of free, engaging public programs and a full-color, illustrated catalog published by SMMoA and distributed by DAP. The publication includes an interview with the artist by Melandri; an essay that contextualizes Thomas s work by writer/curator Sarah Lewis, Professor at Yale University School of Art; and an in-depth investigation of Thomas s nineteenth-century influences by scholar Denise Murrell, a 2011 PhD Dissertation Fellow at Reid Hall of Columbia University in Paris. Generous support for this exhibition has been provided by The National Endowment for the Arts, Lehmann Maupin Gallery, New York, The Andy Warhol Foundation for the Visual Arts, and Susanne Vielmetter Los Angeles Projects. Additional support has also been provided by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission and Janine and Lyndon Barrois. All images © Mickalene Thomas, Lehmann Maupin Gallery, New York, and Susanne Vielmetter Los Angeles Projects, Photo: Christopher Burke Studio"^^ , ""^^ ; - "Identity Theft: Eleanor Antin, Lynn Hershman, Suzy Lake, 1972-1978"^^ ; + "Mickalene Thomas: Origin of the Universe"^^ ; . @@ -1244,77 +1452,83 @@ . - Marking the first Southern California museum exhibition for Richard Carter and Margaret Pezalla-Granlund, Iceberg presented two independent bodies of work about a topic that has long captivated artists. Carter s paintings and drawings of icebergs ranged in size from small to monumental and revealed the haunting beauty, dramatic sculptural quality, and unique character of individual icebergs—from the poetic and atmospheric to the stark and foreboding. Pezalla-Granlund s iceberg sculptures, formed from paper and foam core, were fragile and irregular, lightweight and easily crushed—in purposeful opposition to their real-world counterparts. Suspended from the ceiling, five icebergs of various dimensions floated flat side up with their asymmetrical, jutting edges extending towards the floor. In the intimate space of Project Room 1, the two treatments resonated to immerse the viewer in the awe and mystery of icebergs.> + - Marking the first Southern California museum exhibition for Richard Carter and Margaret Pezalla-Granlund, Iceberg presented two independent bodies of work about a topic that has long captivated artists. Carter s paintings and drawings of icebergs ranged in size from small to monumental and revealed the haunting beauty, dramatic sculptural quality, and unique character of individual icebergs—from the poetic and atmospheric to the stark and foreboding. Pezalla-Granlund s iceberg sculptures, formed from paper and foam core, were fragile and irregular, lightweight and easily crushed—in purposeful opposition to their real-world counterparts. Suspended from the ceiling, five icebergs of various dimensions floated flat side up with their asymmetrical, jutting edges extending towards the floor. In the intimate space of Project Room 1, the two treatments resonated to immerse the viewer in the awe and mystery of icebergs.> . + . - + - ; + ; - "In this collaborative installation, which focused on their experience of growing up in the United States as individuals of non-Western origin, Page and Bravo explored themes of cultural identity, sexual stereotyping, and behavioral imprinting. Through video, paintings, and photography, they contrasted the affirmation of one s own persona with the dichotomy between the West s encoding of behavior and cultural diversity in contemporary society."^^ ; + "This exhibition surveyed work from the preceding seventeen years by acclaimed British artist David Nash. The thirty works included large-scale sculpture, drawings, and photographs inspired by the natural environment, particularly trees. This survey was presented as part of the UK/LA Festival 1994."^^ ; - "Ann Page and Leonard Bravo: Neither Here Nor There"^^ ; + "David Nash: A Collaboration with Nature"^^ ; . - + - ; + ; - "This exhibition surveyed work from the preceding seventeen years by acclaimed British artist David Nash. The thirty works included large-scale sculpture, drawings, and photographs inspired by the natural environment, particularly trees. This survey was presented as part of the UK/LA Festival 1994."^^ ; + "Arnold Mesches has created unabashedly figurative work for more than six decades and has emerged as a seminal figure in American painting and a remarkably fresh voice in contemporary art. In the West Coast debut of new paintings that explore the American condition, Arnold Mesches: Coming Attractions opens at the Santa Monica Museum of Art on January 24 and will be on view through April 18, 2009. Mesches most recent work delves into dark periods of American history and situates them in a hauntingly contemporary landscape. His work combines an interest in twentieth century political and social conflicts with a surrealist approach to painting­ offsetting frank, historical moments with rich, melodramatic dreamscapes. This new exhibition of Mesches work, curated by Lisa Melandri, SMMoA s Deputy Director for Exhibitions and Programs, and uniquely installed in two Project Rooms, will feature selections from his most recent series, including landscapes and interiors. Aptly titled, Coming Attractions alludes to the works theatrical elements, as well as to a portent of what might be to come. Mesches large-scale interiors and landscape canvases, are laden with acerbic colors and vigorous brushwork. In his interiors, Mesches fills opulent concert halls and antique salons with stark reminders of social and political realities, rendered in deep blacks, austere whites, and sickly greens against the blazing colors of their surroundings. Mesches landscapes are similarly harrowing, depicting glimpses of human existence between the trunks of decaying trees. These canvases are portraits of a disturbing, looming future, both absurd and poignant, as well as emotionally authentic. The theatricality and grandeur of the paintings evoke Mesches own history working in the movie industry during the 1940s and 50s in Los Angeles, and their skepticism and ominous sensibility harkens back to the 27 years he was subject to heavy scrutiny by the FBI for his participation in peace marches and demonstrations against McCarthyism and the House Un-American Activities Committee. Mesches eventually obtained his 760-page FBI file through a Freedom of Information Act (FOIA) request and turned dozens of the documents crisply typed white pages thick with black bars, dating from 1945 to 1972 into a popular and critically acclaimed art exhibition, The FBI Files. Throughout his 60-plus-year career as an artist, Mesches has woven many narratives into lush and virtuosic paintings, and in Coming Attractions Mesches affirms that he is as potent as a painter and storyteller as ever. His life s work serves as a remarkable record of one artist s struggle to come to terms with the turmoil of the twentieth century. He has stood staunchly for using contemporary art as a vehicle for protest, a visual amplifier of societal good and evil. Coming Attractions also marks a homecoming for Mesches, who was born in the Bronx, grew up in Buffalo, New York, and moved to Los Angeles in 1943 to accept a scholarship at the Art Center School (now Art Center College of Design). Mesches spent nearly half his life in L.A., and came into his own here in the mid 1940s and into the 50s, becoming known and revered for his socially critical paintings and his portraits. He now resides in Gainesville, Florida. He is the recipient of many awards, including the Pollock-Krasner Foundation Grant (2002). Mesches has exhibited extensively throughout the United States and abroad in 125 solo exhibitions and countless group shows, and his works are included in many prestigious public and private collections, including the Metropolitan Museum of Art, the National Gallery of Art, the Los Angeles County Museum of Art, the Hirschhorn Museum and Sculpture Garden, the Albright-Knox Museum, and the High Museum of Art. However, Mesches has still not received the global recognition or broad appreciation he so deserves for his influence and importance to the canon of contemporary art. As an antidote to this oversight, SMMoA will install Mesches work in two Project Rooms, doubling the museum space normally allotted to such exhibitions."^^ ; - "David Nash: A Collaboration with Nature"^^ ; + "Arnold Mesches: Coming Attractions"^^ ; . - - - . - - - - . - - + + + ; - "This exhibition included sixty-two works by nine artists who blend international movements with unique personal expressions. The paintings acknowledged a debt to the history of Mexican art as they explored issues ranging from gender and sexuality to the sociopolitical soul of the artist in a developing nation. The exhibition was organized by Dr. Edward J. Sullivan, Chairman, Department of Fine Arts, New York University, and the Americas Society, New York."^^ ; + "event_description\"> \t\t\t\t\t\t\t\t\tMarking the first Southern California museum exhibition for Richard Carter and Margaret Pezalla-Granlund, Iceberg presented two independent bodies of work about a topic that has long captivated artists. Carter s paintings and drawings of icebergs ranged in size from small to monumental and revealed the haunting beauty, dramatic sculptural quality, and unique character of individual icebergs—from the poetic and atmospheric to the stark and foreboding. Pezalla-Granlund s iceberg sculptures, formed from paper and foam core, were fragile and irregular, lightweight and easily crushed—in purposeful opposition to their real-world counterparts. Suspended from the ceiling, five icebergs of various dimensions floated flat side up with their asymmetrical, jutting edges extending towards the floor. In the intimate space of Project Room 1, the two treatments resonated to immerse the viewer in the awe and mystery of icebergs."^^ ; - "Aspects of Contemporary Mexican Painting"^^ ; + "Richard Carter and Margaret Pezalla-Granlund: Iceberg"^^ ; . - + - ; + ; - "Isa Melsheimer: Vermilion Sands and Other Stories from the Neon West is a never-before-seen installation that explores Hollywood s cinematic heyday and its motion picture icons, investigating notions of glamour and luxury as they relate to characters, architecture, and locations in and around Los Angeles. Santa Monica Museum of Art Deputy Director Lisa Melandri is curator of Vermilion Sands and Other Stories from the Neon West, in which the artist utilizes commonplace, and largely domestic materials, to create site-specific environments, including a mixture of altered and embroidered t-shirts, live plants, paper, pearls, yarn constructions, and cast concrete sculptures. During a 2007 residency at Villa Aurora a nonprofit organization located in Pacific Palisades dedicated to German-American cultural exchange Melsheimer became interested in Los Angeles s landscape and architecture, as well as the fictional and historical characters that inhabit these spaces. Influenced by classic Hollywood films such as David Lynch s Mulholland Drive and Billy Wilder s Sunset Boulevard, and the stories of James Graham Ballard, Melsheimer examines the affects of architecture and location on Los Angeles s glamorized cinematic figures; as well as the demise of those figures from lifestyles of fame and financial success. Melsheimer is particularly drawn to examples such as the Salton Sea, a former glamorous resort area new Palm Springs that has since degenerated into a kind of wasteland, and the character Norma Desmond and her shabby mansion from Wilder s iconic film. With Vermilion Sands and Other Stories from the Neon West, Melsheimer wants viewers to be aware that architecture is always representative of ideas or subjects that permeate society. She asks viewers to consider: Which fictional and historical subjects are admired within Los Angeles? Why do residents emigrate from Los Angeles? What aesthetics characterize Los Angeles s buildings; and what sentiments manifest in the region s architecture? Some content may be deemed inappropriate for younger viewers. Support for Isa Melsheimer: Vermilion Sands and Other Stories from the Neon West has been provided in part by Institut für Auslandsbeziehungen e.V.  About the artist:Melsheimer (b. 1968) was born in Neuss, Germany, and lives and works in Berlin. She attended the Hochschule der Künste (Academy of Fine Arts), Berlin, and completed a master class with painter Georg Baselitz. Melsheimer s work has been shown in solo exhibitions in museums and galleries throughout Europe, including in Paris at Galerie Jocelyn Wolff, in Nîmes at Musée d Art Contemporain, in Vienna at Galerie Nächst St. Stephan, in Berlin at Esther Schipper Gallery, in Switzerland at Kunsthaus Langenthal, in Maastricht, Netherlands at Bonnefantenmuseum, and in Marfa, Texas at The Chinati Foundation. Melsheimer s work has also been presented in numerous group exhibitions, including in Chamarande, France, at Domaine Départemental de Chamarande, in Berlin at Kunsthalle Autocenter, in Copenhagen at the Institute of Contemporary Art, in Istanbul at BM SUMA Contemporary Art Center, in Mexico City at Museo Tamayo, and in Philadelphia at Cereal Art Project Room."^^ ; + "Initiated by the French Ministry of Foreign Affairs and the offices of Cultural Services in Los Angeles, San Francisco, and New York, Côte Ouest was a collaborative presentation of contemporary French art, with exhibition sites in many of California s most prominent museums, universities, alternative spaces, and galleries. For SMMoA, Marie-Ange Guilleminot recreated her site-specific intervention, transformation parlor, where visitors took part in the creation of many tsuru origami (the famous birdlike symbol of the Hiroshima bombing), which were then fashioned into garlands and displayed at the Hiroshima Peace Memorial Museum in August 2000. SMMoA also presented the first U.S. survey of the work of Pierre Huyghe, whose renowned film and video deconstruct the process of cinema through the juxtaposition of real life and real time, emphasizing the impossibility of separating lived experience from its representation. Concurrently, SMMoA presented videos by young French artists selected by the Centre Georges Pompidou s New Media curator, Christine Van Assche."^^ ; - "Isa Melsheimer: Vermilion Sands and Other Stories from the Neon West"^^ ; + "Marie-Ange Guilleminot and Pierre Huyghe: Côte Ouest"^^ ; . - + + + ; - "Incognito, Santa Monica Museum of Art s first annual art exhibition and sale, was the most successful benefit in the museum s sixteen-year history. The line to get in began to form at 9:30 a.m.; VIP tickets sold out entirely; and when the doors opened, patrons flooded into the museum, purchasing art at an unprecedented rate. Sales continued briskly as the exhibition continued on Saturday. Incognito featured over 573 original works of art by 432 contemporary artists. The works created were in an identical 8 × 10 inch format and signed only on the back. All were for sale at $250; only after purchase were artist identities revealed. See all the works in Incognito by visiting the Incognito 2004 online catalog designed by Kristin Calabrese."^^ ; + "Organic Laboratory Museum, created by Santa Monica artist Carl Cheng (John Doe Co.), is an experimental museum of research into organic materials, natural phenomena, and human nature. Its meditative, sanctuary-like environments rely upon the site s natural character to encourage the viewer s subjective experience of elemental forces sound, light, space, gravity, and physics. For his installation at the Santa Monica Museum, Cheng created a controlled greenhouse environment that displayed his long-term investigations, working models, and processes."^^ ; - "INCOGNITO 2004"^^ ; + "Public Works: Carl Cheng: Organic Laboratory Museum, John Doe Co."^^ ; . - + - ; + ; - "Rudy’s Ramp of Remainders is a new sculptural installation by conceptual artist Michael Queenland. Rudy’s Ramp of Remainders was inspired by Rudis Resterampe—which roughly translates to “Rudy’s Pile of Leftovers”—a German discount store filled with surplus scraps of textile and discarded cultural items that Queenland discovered during his 2009 fellowship at the American Academy in Berlin. Queenland’s installation transforms various materials into “ramps”—loosely grouped remainders and offcuts of objects. These “ramps” reveal how commonplace material and cultural items are reshaped and redefined through Queenland’s artistic intervention. Organized by SMMoA s newly appointed curator-at-large Jeffrey Uslip, Rudy’s Ramp of Remainders takes the form of a surplus environment where Queenland’s sculptural assemblages serve as cultural inventory. Layers of newspapers, folded open and vertically stacked, cover the floor of the exhibition space and serve as the ground on which the new sculptural forms are installed. Plasticized balloons, found objects, industrial bread racks, metal pipes, and perishable goods—that exemplify Queenland’s signature visual vocabulary—are arranged on top of the newspaper. Rudy’s Ramp of Remainders continues Queenland s examination of cultural, communal, and biographical forms that are at once dislocated from their original context and repositioned in the collective imaginary. A printed interview between Queenland and Uslip accompanies the exhibition.  Major support for this exhibition has been provided by Marlborough Chelsea, New York, and The Andy Warhol Foundation for the Visual Arts. Additional funding has been provided by the City of Santa Monica and the Santa Monica Arts Commission; Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; Dean V. Ambrose; Good Works Foundation and Laura Donnelley; Abby Sher; Rosa and Bob Sinnott; The Audrey and Sydney Irmas Charitable Foundation; Marla and Jeffrey Michaels; Peter A. Gelles and Eve Steele Gelles; Pasadena Art Alliance; and Frederick R. Weisman Art Foundation.  About the artist: Michael Queenland was born in 1970 and lives and works in New Haven, Connecticut. He earned Bachelor’s of Arts and Master’s of Fine Arts degrees from the University of California, Los Angeles. Queenland’s work has been shown in such distinguished venues as The Studio Museum in Harlem, New York; Whitney Museum of American Art, New York; Institute of Contemporary Art at Maine College of Art, Portland; Midway Contemporary Art, Minneapolis; and Massachusetts College of Art, Boston. His work is included in the permanent collection of The Studio Museum in Harlem. Queenland is an assistant professor of sculpture at Yale University Graduate School of Art. About the curator: Jeffrey Uslip (b. 1977) is a New York-based independent curator, who has organized exhibitions for PS1/MOMA, New York, Artists Space, New York, Columbia University’s Graduate School of Arts and Sciences, California State University, Los Angeles, and LAXART, Los Angeles. He is an online contributor to Art Forum, has lectured at the Whitney Museum of American Art, and is currently a doctoral candidate at The Institute of Fine Arts, New York University."^^ ; + "The Layered Look investigated working processes that involve amassing objects or material to create a greater effect. Of the six artists included in the exhibition, Constance Mallinson and Pauline Stella Sanchez are painters; Chris Finley and Doug Hammett are sculptors; and Larry Mantello and Joyce Lightbody work in a hybrid of assemblage and collage. The Layered Look was presented as part of LAX: The Los Angeles Exhibition."^^ ; - "Michael Queenland: Rudy’s Ramp of Remainders"^^ ; + "The Layered Look: Towards an Aesthetic of Accumulation Among Six Los Angeles Artists"^^ ; + + . + + + + "INCOGNITO, Santa Monica Museum of Art’s highly anticipated annual art exhibition and benefit sale, will return for its sixth year on Saturday, May 1, 2010. Attendees—from sophisticated art supporters to first-time collectors—are encouraged to trust their instincts to guide their selections, as works are signed on the back and artist identities are revealed only after purchase. Doors open 7pm sharp Music by DJ Jason Bentley, KCRW Music Director Cocktails Food by Lene All works 8 x 10 $300 (+ tax) Signed on the back Artist identity revealed only after purchaseINCOGNITO 2010 Committee Price Latimer Agah, Michael Briggs, Charlotte Eyerman, Andrea Feldman Falcione, Veronica Fernandez, Alexandra Gaty, Justin Gilanyi, Heather Harmon, Bettina Korek, Kris Kuramitsu, Kim McCarty, David Montalba, Bruce Samuels, MD, Colette Shelton, Dr. Leigh Silverton, V. Joy Simmons, MD, Andrew Stearn, Jeffrey UslipTickets and PackagesCognoscenti $5,000 ($4,280 tax deductible) • 4 event tickets • 2 vouchers for artworks • Invitation for 4 to private tour with Nancy Rubins at her Topanga studios. Saturday, April 24 at 10:30 am followed by luncheon • Invitation for 4 to champagne preview (Thursday, April 29, 6:30 – 8:00 pm) • Expedited check-in and priority entrance • 2 exclusive INCOGNITO Messenger Bags • Prominent title wall, print and online recognition • Reserved parking for 2 cars • Donor recognition for Park Studio, SMMoA’s Signature spring break outreach program, and sponsorship of 1 Park Studio student artist to attend INCOGNITOBenefactor $1,500 ($1,200 tax deductible) • 2 event tickets • 1 artwork voucher • Invitation for 2 to champagne preview (Thursday, April 29, 6:30 – 8:00 pm) • Expedited check-in and priority entrance following Cognoscenti • Print and online recognition • Reserved parking for 1 car Patron $600 ($300 tax deductible) • 2 event tickets • 1 artwork voucher • Priority entrance immediately following Benefactors Supporter $100 ($100 tax deductible) • 1 event ticket • Entrance following Patrons ($150 at the door) INCOGNITO 2010 Sponsors 89.9 KCRW ForYourArt Malibu Family Wines Pura Casta Tequila Room Board Home Furnishings INCOGNITO 2010 Participating Artists (As of April 9, 2010) Luciana Abait, Kim Abeles, Lisa Adams, Nick Agid, Cathy Akers, Lita Albuquerque, Cynthia Alexander, Rachel Allen, Terry Allen, Jami Allen-Snyder, Sophia Allison, Fumiko Amano, Kathryn Andrews, Eleanor Antin, Carolyn D. Applegate, Edgar Arceneaux, Skip Arnold, Charles Arnoldi, Dawn Arrowsmith, Joshua Aster, Chad Attie, Lisa Anne Auerbach, Don Bachardy, Donald Baechler, Hilary Baker, John Baldessari, Glen Baldridge, Kate Barclay, Miyoshi Barosh, Mely Barragán, Kelly Barrie, Ray Barrie, Judith Barry, Edith Beaucage, Martin Beck, Tina Beebe, Larry Bell, Quinton Bemiller, Neil Bender, Maura Bendett, Tom Benedek, Lynda Benglis, Billy Al Bengston, Cindy Bernard, Jodie Berry, Guillermo Bert, Hisham Akira Bharoocha, Brian Biedul, Joe Biel, Alvaro Blancarte, Dan Bohbot, Jill Bonovitz, Derek Boshier, Janet Bothne, Katy Kristin Bowen, Jennifer Boysen, Mark Bradford, Leonardo Bravo, Brian Bress, Kimberly Brooks, Stephanie Brooks, Edgar Bryan, David Buckingham, Jeremy Burleson, Bruce Busby, Matty Byloos, Kristin Calabrese, Huguette Caland, Joshua Callaghan, Jo Ann Callis, Jane Callister, Clayton Campbell, Barbara Carrasco, Karen Carson, Carter Carter, Richard Carter, Cole Case, Enrique Castrejon, Jennifer Celio, Corinne Chaix, Matt Chambers, Jeff Charbonneau Eliza French, Daniel Chavira, Nicole Cherubini, Marc Chiat, Tofer Chin, Clayton Brothers, George Comer, Brian Cooper, Michael Coughlan, Eileen Cowin, Lori Cozen-Geller, Liz Craft, Thomas Alan Cronk, Hugo Crosthwaite Studio, Krysten Cunningham, Jay Davis, Len Davis, Woods Davy, Tony de los Reyes, Mara De Luca, Michael Dee, Steve DeGroodt, Tony DeLap, Jane Dickson, Ann Diener, Guy Dill, Laddie John Dill, Kim Dingle, Tomory Dodge, Mimi Drop, Sean Duffy, Barry Dukoff, Anna Dusi, Mark Dutcher, Mari Eastman, Brad Eberhard, Jonmarc Edwards, Ashley McLean Emenegger, Elizabeth Enders, Noah Erenberg, Sam Erenberg, Timothy Ernst, Ned Evans, Kirsten Everberg, Betsy Everitt, Bart Exposito, Mollie Favour, Diane Fenster, Carolyn Fernandez, Bruria Finkel, Chris Finley, Ed Flynn, Kianga Ford, Simone Forti, Andrew Foster, Brendan Fowler, Jona Frank, Bryan Freeny, Sarah Frost, Gajin Fujita, Caroline Furr, Joe Fyfe, Francesca Gabbiani, Charles Gaines, Steve Galloway, Corina Gamma, Helen Garber, Helen K. Garber, Rico Gatson, Jordan Gaunce, Megan Geckler, Milton Glaser, Gustavo Godoy, Sayre Thomas Gomez, Marcelino Gonçalves, Yolanda Gonzalez, Joe Goode, Penelope Gottlieb, Timothy Granlund, Alexandra A. Grant, John Grauman, Cameron Gray, Phyllis Green, Mark Steven Greenfield, Maria Greenshields-Ziman, Alvin Gregorio, Logan Grider, Margaret Griffith, Iva Gueorguieva, Jennifer Guidi, Sherin Guirguis, Mary Addison Hackett, Eulilia Halloran, Nancy Jean Hancock, Lynn Hanson, Kira Lynn Harris, Willie Harris, Karen Harter, Doug Harvey, Hock e aye vi Edgar Heap of Birds, Deborah Hede, Drew Heitzler, Matthew Heller, David Hendren, Brandon Herman, Roger Herman, George Herms, Pixie Herms, Juan Carlos Muñoz Hernandez, Gilah Yelin Hirsch, Asuka Hisa, Julian Hoeber, Susan Holcomb, Loren Holland, Violet Hopkins, Channa Horwitz, Bettina Hubby, David Huffman, Salomón Huerta, Sara Hunsucker, Dusadee Huntrakul, Eva Hyam, Mac James, Max Jansons, Ellen Jantzen, Michael Jantzen, JC Jaress, Danny Jauregui, Gabriel Johnson, Larry Johnson, Robert Johnson, Vincent Johnson, Joan Jonas, Michael Joo, Gegam Kacherian, Sharon Kagan, Yoichi Kawamura, Veronika Kellendorfer, Szajna Kellman, Mary Kelly, Arnold J. Kemp, Brian Kennon, Kristi Kent, Martin Kersels, Soo Kim, Linda King, Bill Kleiman, Patricia Knop, Christof Kohlhofer, Alice Könitz, Olga Koumoundouros, Tom Kovachevich, Joyce Kozloff, Alan Kupchick, Aitor Lajarin, Suzy Lake, Lauren Lavitt, Diane Lavoie, Brendan Leech, Tom Leeser, Joshua Levine, Les Levine, Robert Levine, Sharon Levy, John Oliver Lewis, Glenn Ligon, Won Ju Lim, Clarence Lin, Jed Lind, Chris Lipomi, Annabel Livermore, Jay Lizo, Sharon Lockhart, Karen Lofgren, William Longhauser, Mara Lonner, Renée Lotenero, Richard Louderback, Jean Lowe, Heriberto Luna, Eva Lundsager, Mela M., Kim MacConnel, Nancy Macko, Chris Madans, Constance Mallinson, Daniel Maltzman, Becca Mann, Summer Mann, Ana Marini-Genzon, Adam Marnie, Hudson Marquez, Luigia Martelloni, Taras Matla, Thom Mayne/Morphosis Architects, Jessica McCambly, Kim McCarty, David McDonald, Mercedes McDonald, Kelly McLane, Michael C. McMillen, Rodney McMillian, James McNulty, Blue McRight, Rob Mellor, Thom Merrick, Arnold Mesches, Tom Millea, John Millei, Brad Miller, Greg Miller, James Miller, Robin Mitchell, Ginette Mizraki, Bobbie Moline-Kramer, Nancy Monk, Lester Monzon, Dominique Moody, Mary More, Jim Morphesis, Rebecca Morris, Aaron Morse, Andy Moses, Ed Moses, Joshua Mosley, Sandeep Mukherjee, Dave Muller, Mario M. Muller, Manfred Müller, Thomas Müller, Hillary Mushkin, Barbara Nathanson, Tucker Neel, Ruby Neri, Charles Nickila, Jessica Nicol, Leonard Nimoy, Yarg Noremac, Laurie Nye, Odili Donald Odita, Matthew Offenbacher, Saelee Oh, Chris Oliveria, Pat O’Neill, Yoko Ono, Catherine Opie, Ed Osborn, Ruby Osorio, Edward Carlo Pacio, Rosieta Pardo, Izhar Patkin, Emilio Chapela Perez, Luciano Perna, Renee Petropoulos, Raymond Pettibon, Margaret Pezalla-Granlund, Francis Pezza, Vidal Pinto, Paul Pitsker, Plasticgod, Bruce Pollock, Lori Precious, Astrid Preston, Monique Prieto, Yuval Pudik, Antonio Puleo, Rosamond Purcell, Jonathan Pylypchuk, Bill Radawec, Elsa Rady, David Reed, Miles Regis, Roland Reiss, Marco Rios, Ellwood T. Risk, Lynn Robb, John Robertson, Walter Robinson, Steve Roden, Ana Rodriguez, Artemio Rodriguez, Michael A. Rosenfeld, Rachel Rosenthal, Erika Rothenberg, Melanie Rothschild, Daniel Ruanova, Nancy Rubins, Kathy Rudin, Allen Ruppersberg, Ed Ruscha, Eddie Ruscha, Sharon Ryan, Alison Saar, Betye Saar, Lezly Saar, Souther Salazar, Gwen Samuels, Adrian Sanchez, Ruth San Pietro, Eduardo Sarabia, Julião Sarmento, Larry Scharf, Christoph Schmidberger, Carolee Schneemann, Kim Schoen, Kim Schoenstadt, Barbara Schwan, Josh Schweitzer, Chloe Sells, Lisa Semler, Shelter Serra, Marie Sester, Claudio Sgaravizzi, Peter Shire, Elena Mary Siff, Richard David Sigmund, Doni Silver Simons, Elias Sime, Kristina Simonsen, Elizabeth Simonson, Anna Simson, Alex Slade, Rena Small, Ali Smith, Joe Sola, Mariangeles Soto-Diaz, Alyson Souza, Brad Spence, Jeni Spota, Andréa Stanislav, Randi Malkin Steinberger, Coleen Sterritt, Mary Clare Stevens, Jennifer Steinkamp, Whitney Stolich, Roni Stretch, Dean Styers, Don Suggs, May Sun, Ricky Swallow, Ami Tallman, Henry Taylor, Mickalene Thomas, Mark Todd, Timothy Tompkins, Ibojka M. Toth, David Trulli, Shirley Tse, Brian Tucker, Carrie Ungerman, Miller Updegraff, Migdalia Valdes, Bob Van Breda, Lesley Vance, Jennifer Vanderpool, Mark Verabioff, Ariane Vielmetter, Tyler Vlahovich, Catherine Wagner, Keith Walsh, Gary Ward, Esther Pearl Watson, Mary K. Weatherford, Marnie Weber, Ruth Weisberg, Jeffrey Wells, Brett Westfall, Ben White, Pae White, Edward Walton Wilcox, Robert Williams, Brian Wills, Lyn Winter, Steven Wolkoff, Suzan Woodruff, Miriam Wosk, Tom Wudl, Leslie Yagar, Rosha Yaghmai, Liat Yossifor, Kent Kevin Young, Brenna Youngblood, Buzz Yudell, Eric Zammitt, Jody Zellen, Bari Ziperstein, Kevin Zucker, Sarah Zwerling Artist participation is by invitation only."^^ , "INCOGNITO, Santa Monica Museum of Art’s highly anticipated annual art exhibition and benefit sale, will return for its sixth year on Saturday, May 1, 2010. Attendees—from sophisticated art supporters to first-time collectors—are encouraged to trust their instincts to guide their selections, as works are signed on the back and artist identities are revealed only after purchase. Doors open 7pm sharp Music by DJ Jason Bentley, KCRW Music Director Cocktails Food by Lene All works 8 x 10 $300 (+ tax) Signed on the back Artist identity revealed only after purchaseINCOGNITO 2010 Committee Price Latimer Agah, Michael Briggs, Charlotte Eyerman, Andrea Feldman Falcione, Veronica Fernandez, Alexandra Gaty, Justin Gilanyi, Heather Harmon, Bettina Korek, Kris Kuramitsu, Kim McCarty, David Montalba, Bruce Samuels, MD, Colette Shelton, Dr. Leigh Silverton, V. Joy Simmons, MD, Andrew Stearn, Jeffrey UslipTickets and PackagesCognoscenti $5,000 ($4,280 tax deductible) • 4 event tickets • 2 vouchers for artworks • Invitation for 4 to private tour with Nancy Rubins at her Topanga studios. Saturday, April 24 at 10:30 am followed by luncheon • Invitation for 4 to champagne preview (Thursday, April 29, 6:30 – 8:00 pm) • Expedited check-in and priority entrance • 2 exclusive INCOGNITO Messenger Bags • Prominent title wall, print and online recognition • Reserved parking for 2 cars • Donor recognition for Park Studio, SMMoA’s Signature spring break outreach program, and sponsorship of 1 Park Studio student artist to attend INCOGNITOBenefactor $1,500 ($1,200 tax deductible) • 2 event tickets • 1 artwork voucher • Invitation for 2 to champagne preview (Thursday, April 29, 6:30 – 8:00 pm) • Expedited check-in and priority entrance following Cognoscenti • Print and online recognition • Reserved parking for 1 car Patron $600 ($300 tax deductible) • 2 event tickets • 1 artwork voucher • Priority entrance immediately following Benefactors Supporter $100 ($100 tax deductible) • 1 event ticket • Entrance following Patrons ($150 at the door) For more information about artists, tickets, and packages, please call 310.586.6488 x 116 or go to http://www.smmoa.org/ INCOGNITO 2010 Sponsors 89.9 KCRW ForYourArt Malibu Family Wines Pura Casta Tequila Room Board Home Furnishings INCOGNITO 2010 Participating Artists (As of April 9, 2010) Luciana Abait, Kim Abeles, Lisa Adams, Nick Agid, Cathy Akers, Lita Albuquerque, Cynthia Alexander, Rachel Allen, Terry Allen, Jami Allen-Snyder, Sophia Allison, Fumiko Amano, Kathryn Andrews, Eleanor Antin, Carolyn D. Applegate, Edgar Arceneaux, Skip Arnold, Charles Arnoldi, Dawn Arrowsmith, Joshua Aster, Chad Attie, Lisa Anne Auerbach, Don Bachardy, Donald Baechler, Hilary Baker, John Baldessari, Glen Baldridge, Kate Barclay, Miyoshi Barosh, Mely Barragán, Kelly Barrie, Ray Barrie, Judith Barry, Edith Beaucage, Martin Beck, Tina Beebe, Larry Bell, Quinton Bemiller, Neil Bender, Maura Bendett, Tom Benedek, Lynda Benglis, Billy Al Bengston, Cindy Bernard, Jodie Berry, Guillermo Bert, Hisham Akira Bharoocha, Brian Biedul, Joe Biel, Alvaro Blancarte, Dan Bohbot, Jill Bonovitz, Derek Boshier, Janet Bothne, Katy Kristin Bowen, Jennifer Boysen, Mark Bradford, Leonardo Bravo, Brian Bress, Kimberly Brooks, Stephanie Brooks, Edgar Bryan, David Buckingham, Jeremy Burleson, Bruce Busby, Matty Byloos, Kristin Calabrese, Huguette Caland, Joshua Callaghan, Jo Ann Callis, Jane Callister, Clayton Campbell, Barbara Carrasco, Karen Carson, Carter Carter, Richard Carter, Cole Case, Enrique Castrejon, Jennifer Celio, Corinne Chaix, Matt Chambers, Jeff Charbonneau Eliza French, Daniel Chavira, Nicole Cherubini, Marc Chiat, Tofer Chin, Clayton Brothers, George Comer, Brian Cooper, Michael Coughlan, Eileen Cowin, Lori Cozen-Geller, Liz Craft, Thomas Alan Cronk, Hugo Crosthwaite Studio, Krysten Cunningham, Jay Davis, Len Davis, Woods Davy, Tony de los Reyes, Mara De Luca, Michael Dee, Steve DeGroodt, Tony DeLap, Jane Dickson, Ann Diener, Guy Dill, Laddie John Dill, Kim Dingle, Tomory Dodge, Mimi Drop, Sean Duffy, Barry Dukoff, Anna Dusi, Mark Dutcher, Mari Eastman, Brad Eberhard, Jonmarc Edwards, Ashley McLean Emenegger, Elizabeth Enders, Noah Erenberg, Sam Erenberg, Timothy Ernst, Ned Evans, Kirsten Everberg, Betsy Everitt, Bart Exposito, Mollie Favour, Diane Fenster, Carolyn Fernandez, Bruria Finkel, Chris Finley, Ed Flynn, Kianga Ford, Simone Forti, Andrew Foster, Brendan Fowler, Jona Frank, Bryan Freeny, Sarah Frost, Gajin Fujita, Caroline Furr, Joe Fyfe, Francesca Gabbiani, Charles Gaines, Steve Galloway, Corina Gamma, Helen Garber, Helen K. Garber, Rico Gatson, Jordan Gaunce, Megan Geckler, Milton Glaser, Gustavo Godoy, Sayre Thomas Gomez, Marcelino Gonçalves, Yolanda Gonzalez, Joe Goode, Penelope Gottlieb, Timothy Granlund, Alexandra A. Grant, John Grauman, Cameron Gray, Phyllis Green, Mark Steven Greenfield, Maria Greenshields-Ziman, Alvin Gregorio, Logan Grider, Margaret Griffith, Iva Gueorguieva, Jennifer Guidi, Sherin Guirguis, Mary Addison Hackett, Eulilia Halloran, Nancy Jean Hancock, Lynn Hanson, Kira Lynn Harris, Willie Harris, Karen Harter, Doug Harvey, Hock e aye vi Edgar Heap of Birds, Deborah Hede, Drew Heitzler, Matthew Heller, David Hendren, Brandon Herman, Roger Herman, George Herms, Pixie Herms, Juan Carlos Muñoz Hernandez, Gilah Yelin Hirsch, Asuka Hisa, Julian Hoeber, Susan Holcomb, Loren Holland, Violet Hopkins, Channa Horwitz, Bettina Hubby, David Huffman, Salomón Huerta, Sara Hunsucker, Dusadee Huntrakul, Eva Hyam, Mac James, Max Jansons, Ellen Jantzen, Michael Jantzen, JC Jaress, Danny Jauregui, Gabriel Johnson, Larry Johnson, Robert Johnson, Vincent Johnson, Joan Jonas, Michael Joo, Gegam Kacherian, Sharon Kagan, Yoichi Kawamura, Veronika Kellendorfer, Szajna Kellman, Mary Kelly, Arnold J. Kemp, Brian Kennon, Kristi Kent, Martin Kersels, Soo Kim, Linda King, Bill Kleiman, Patricia Knop, Christof Kohlhofer, Alice Könitz, Olga Koumoundouros, Tom Kovachevich, Joyce Kozloff, Alan Kupchick, Aitor Lajarin, Suzy Lake, Lauren Lavitt, Diane Lavoie, Brendan Leech, Tom Leeser, Joshua Levine, Les Levine, Robert Levine, Sharon Levy, John Oliver Lewis, Glenn Ligon, Won Ju Lim, Clarence Lin, Jed Lind, Chris Lipomi, Annabel Livermore, Jay Lizo, Sharon Lockhart, Karen Lofgren, William Longhauser, Mara Lonner, Renée Lotenero, Richard Louderback, Jean Lowe, Heriberto Luna, Eva Lundsager, Mela M., Kim MacConnel, Nancy Macko, Chris Madans, Constance Mallinson, Daniel Maltzman, Becca Mann, Summer Mann, Ana Marini-Genzon, Adam Marnie, Hudson Marquez, Luigia Martelloni, Taras Matla, Thom Mayne/Morphosis Architects, Jessica McCambly, Kim McCarty, David McDonald, Mercedes McDonald, Kelly McLane, Michael C. McMillen, Rodney McMillian, James McNulty, Blue McRight, Rob Mellor, Thom Merrick, Arnold Mesches, Tom Millea, John Millei, Brad Miller, Greg Miller, James Miller, Robin Mitchell, Ginette Mizraki, Bobbie Moline-Kramer, Nancy Monk, Lester Monzon, Dominique Moody, Mary More, Jim Morphesis, Rebecca Morris, Aaron Morse, Andy Moses, Ed Moses, Joshua Mosley, Sandeep Mukherjee, Dave Muller, Mario M. Muller, Manfred Müller, Thomas Müller, Hillary Mushkin, Barbara Nathanson, Tucker Neel, Ruby Neri, Charles Nickila, Jessica Nicol, Leonard Nimoy, Yarg Noremac, Laurie Nye, Odili Donald Odita, Matthew Offenbacher, Saelee Oh, Chris Oliveria, Pat O’Neill, Yoko Ono, Catherine Opie, Ed Osborn, Ruby Osorio, Edward Carlo Pacio, Rosieta Pardo, Izhar Patkin, Emilio Chapela Perez, Luciano Perna, Renee Petropoulos, Raymond Pettibon, Margaret Pezalla-Granlund, Francis Pezza, Vidal Pinto, Paul Pitsker, Plasticgod, Bruce Pollock, Lori Precious, Astrid Preston, Monique Prieto, Yuval Pudik, Antonio Puleo, Rosamond Purcell, Jonathan Pylypchuk, Bill Radawec, Elsa Rady, David Reed, Miles Regis, Roland Reiss, Marco Rios, Ellwood T. Risk, Lynn Robb, John Robertson, Walter Robinson, Steve Roden, Ana Rodriguez, Artemio Rodriguez, Michael A. Rosenfeld, Rachel Rosenthal, Erika Rothenberg, Melanie Rothschild, Daniel Ruanova, Nancy Rubins, Kathy Rudin, Allen Ruppersberg, Ed Ruscha, Eddie Ruscha, Sharon Ryan, Alison Saar, Betye Saar, Lezly Saar, Souther Salazar, Gwen Samuels, Adrian Sanchez, Ruth San Pietro, Eduardo Sarabia, Julião Sarmento, Larry Scharf, Christoph Schmidberger, Carolee Schneemann, Kim Schoen, Kim Schoenstadt, Barbara Schwan, Josh Schweitzer, Chloe Sells, Lisa Semler, Shelter Serra, Marie Sester, Claudio Sgaravizzi, Peter Shire, Elena Mary Siff, Richard David Sigmund, Doni Silver Simons, Elias Sime, Kristina Simonsen, Elizabeth Simonson, Anna Simson, Alex Slade, Rena Small, Ali Smith, Joe Sola, Mariangeles Soto-Diaz, Alyson Souza, Brad Spence, Jeni Spota, Andréa Stanislav, Randi Malkin Steinberger, Coleen Sterritt, Mary Clare Stevens, Jennifer Steinkamp, Whitney Stolich, Roni Stretch, Dean Styers, Don Suggs, May Sun, Ricky Swallow, Ami Tallman, Henry Taylor, Mickalene Thomas, Mark Todd, Timothy Tompkins, Ibojka M. Toth, David Trulli, Shirley Tse, Brian Tucker, Carrie Ungerman, Miller Updegraff, Migdalia Valdes, Bob Van Breda, Lesley Vance, Jennifer Vanderpool, Mark Verabioff, Ariane Vielmetter, Tyler Vlahovich, Catherine Wagner, Keith Walsh, Gary Ward, Esther Pearl Watson, Mary K. Weatherford, Marnie Weber, Ruth Weisberg, Jeffrey Wells, Brett Westfall, Ben White, Pae White, Edward Walton Wilcox, Robert Williams, Brian Wills, Lyn Winter, Steven Wolkoff, Suzan Woodruff, Miriam Wosk, Tom Wudl, Leslie Yagar, Rosha Yaghmai, Liat Yossifor, Kent Kevin Young, Brenna Youngblood, Buzz Yudell, Eric Zammitt, Jody Zellen, Bari Ziperstein, Kevin Zucker, Sarah Zwerling Artist participation is by invitation only."^^ ; + + "INCOGNITO 2010"^^ ; . - + - . + ; + + . @@ -1322,89 +1536,65 @@ . - - - . - - - - . - - + - ; + ; - "America the Beautiful was the first comprehensive museum exhibition of journals and mixed-media collages by Exene Cervenka, an icon of the Los Angeles music scene and one of the founding members of the seminal Los Angeles punk group, X. A musician, poet, and visual and spoken-word artist for more than thirty years, Cervenka created journals, dating from 1974 through 2005, that combine rough drafts of songs and personal reflections rendered in a baroque calligraphic script, with photographs, drawings, and scraps of ephemera that she found while traveling as a musician. Similarly, she created the collages from found materials to form an interpretative composite portrait of the country she came to know through her life experiences on the road. America the Beautiful was guest-curated by Michael Duncan and Kristine McKenna."^^ ; + "Rudy’s Ramp of Remainders is a new sculptural installation by conceptual artist Michael Queenland. Rudy’s Ramp of Remainders was inspired by Rudis Resterampe—which roughly translates to “Rudy’s Pile of Leftovers”—a German discount store filled with surplus scraps of textile and discarded cultural items that Queenland discovered during his 2009 fellowship at the American Academy in Berlin. Queenland’s installation transforms various materials into “ramps”—loosely grouped remainders and offcuts of objects. These “ramps” reveal how commonplace material and cultural items are reshaped and redefined through Queenland’s artistic intervention. Organized by SMMoA s newly appointed curator-at-large Jeffrey Uslip, Rudy’s Ramp of Remainders takes the form of a surplus environment where Queenland’s sculptural assemblages serve as cultural inventory. Layers of newspapers, folded open and vertically stacked, cover the floor of the exhibition space and serve as the ground on which the new sculptural forms are installed. Plasticized balloons, found objects, industrial bread racks, metal pipes, and perishable goods—that exemplify Queenland’s signature visual vocabulary—are arranged on top of the newspaper. Rudy’s Ramp of Remainders continues Queenland s examination of cultural, communal, and biographical forms that are at once dislocated from their original context and repositioned in the collective imaginary. A printed interview between Queenland and Uslip accompanies the exhibition.  Major support for this exhibition has been provided by Marlborough Chelsea, New York, and The Andy Warhol Foundation for the Visual Arts. Additional funding has been provided by the City of Santa Monica and the Santa Monica Arts Commission; Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; Dean V. Ambrose; Good Works Foundation and Laura Donnelley; Abby Sher; Rosa and Bob Sinnott; The Audrey and Sydney Irmas Charitable Foundation; Marla and Jeffrey Michaels; Peter A. Gelles and Eve Steele Gelles; Pasadena Art Alliance; and Frederick R. Weisman Art Foundation.  About the artist: Michael Queenland was born in 1970 and lives and works in New Haven, Connecticut. He earned Bachelor’s of Arts and Master’s of Fine Arts degrees from the University of California, Los Angeles. Queenland’s work has been shown in such distinguished venues as The Studio Museum in Harlem, New York; Whitney Museum of American Art, New York; Institute of Contemporary Art at Maine College of Art, Portland; Midway Contemporary Art, Minneapolis; and Massachusetts College of Art, Boston. His work is included in the permanent collection of The Studio Museum in Harlem. Queenland is an assistant professor of sculpture at Yale University Graduate School of Art. About the curator: Jeffrey Uslip (b. 1977) is a New York-based independent curator, who has organized exhibitions for PS1/MOMA, New York, Artists Space, New York, Columbia University’s Graduate School of Arts and Sciences, California State University, Los Angeles, and LAXART, Los Angeles. He is an online contributor to Art Forum, has lectured at the Whitney Museum of American Art, and is currently a doctoral candidate at The Institute of Fine Arts, New York University."^^ ; - "Exene Cervenka: America the Beautiful"^^ ; + "Michael Queenland: Rudy’s Ramp of Remainders"^^ ; . + + + ; + + . + + + + . + "Abby Donovan"^^ ; . - + - ; + ; - "Unlike her contemporaries, the Viennese Actionists, the seminal Austrian artist VALIE EXPORT created distinctly feminist works intended to provoke social change and to overturn prevailing attitudes towards women. Her early performance art demanded the involvement of the audience on a visceral level. She used her body as a medium as a challenge to erotic hypocrisy, as a way of perceiving and codifying information, and as a means to counter the horrifying political realities of the past. This exhibition presented a thirty-year survey of photographs and videos documenting VALIE EXPORT s early performance works, digital and conceptual photography, expanded cinema, large-scale video installations, and films. Ob/De+Con(Struction) was organized by Elsa Longhauser for the Goldie Paley Gallery at Moore College of Art and Design, Philadelphia."^^ ; + "Hugh Pocock s work investigates the history and metaphor of human relationships with natural resources, space, time, art, and language, often representing what he terms an expression of involvement with intense labor and the dynamics of nature. For the site-specific installation This Garden making salt and evaporation drawings, Pocock placed 180 gallons of seawater from the Santa Monica Bay in a specially cast, shallow concrete pond, then employed solar-powered lights and fans to evaporate the seawater and leave behind a salt crystal residue. Throughout the exhibition, the salt was regularly harvested and the pond refilled; salt was available for visitors to taste. Pocock used a large-scale pencil drawing to chart and display atmospheric changes in the museum and the levels of natural evaporation of the seawater, and a projection of photographs documented the water collection process."^^ ; - "VALIE EXPORT: Ob/De+Con(Struction)"^^ ; + "Hugh Pocock: This Garden-making salt and evaporation drawing"^^ ; . - + + + ; - "Dark Places explored the subtle interconnections between memory and social space and the possibility that traces of events are scripted into the fabric of our physical and psychological environment. Conceived and organized by guest curator Joshua Decter, and designed by the architectural collective servo, the exhibition featured the work of 75 distinguished artists and architects from around the world. Dark Places brought an alternative, experimental approach to the organization and installation of a group exhibition. It was conceived to reanimate relationships among art, architecture, media, and technological design, and to generate a new kind of immersive environment the hallucination of a futuristic noir scenario inside the frame of the museum. The exhibition asked: What, and where, are the enigmatic places in our urban and suburban worlds? How do we navigate through ambiguous social spaces? How do we experience the historical traces of complex and disturbing events within our homes, neighborhoods, and cities? What are the atmospheric, psychological, and political conditions that define our constructed environments? How are we affected by fear, violence, and paranoia, expressed through such technologies as surveillance and the Internet, as well as by the popular media? And, how might we reappropriate these actual and fictional narratives to achieve social, political, and spiritual transformation to illuminate the dark places? Participants who responded to these questions by making new work, or selecting or modifying existing work to be recontextualized within the exhibition in digital form included: Acconci Studio, Franz Ackermann, Francis Alÿs, Michael Ashkin, Jaime Ávila Ferrer, Dennis Balk, Matthew Barney, Judith Barry, Thomas Bayrle, Julie Becker, Douglas Blau, Monica Bonvicini, Daniel Bozhkov, Mark Bradford, Troy Brauntuch, François Bucher, Sophie Calle, Eduardo Consuegra, Jordan Crandall, Teddy Cruz, Jonas Dahlberg, Stephen Dean, Anne Deleporte, Diller + Scofidio, Sam Durant, Anna Gaskell, Douglas Gordon, gruppo A12, Fariba Hajamadi, Pablo Helguera, Noritoshi Hirakawa, Julian Hoeber, Emily Jacir, Christian Jankowski, Vincent Johnson, Mitchell Kane, Joachim Koester, Glenn Ligon, Dorit Margreiter, Fiorenza Menini, John Miller, Muntadas, Paul Myoda, Yoshua Okon, Catherine Opie, Lucy Orta, Hirsch Perlman, Raymond Pettibon, Richard Phillips, Richard Prince, Raqs Media Collective, Miguel Rio Branco, Alexis Rockman, Julian Rosefeldt, Aura Rosenberg, Peter Rostovsky, Sam Samore, Paige Sarlin, Julia Scher, Gregor Schneider, Allan Sekula, Andres Serrano, Nedko Solakov, Doron Solomons, Wolfgang Staehle, Javier Tellez, Anton Vidokle, Eyal Weizman/Nadav Harel, James Welling, Wim Wenders, Judi Werthein, Charlie White, Måns Wrange, Jody Zellen, and Heimo Zobernig. Decter organized the varied submissions painting, photography, drawing, video, film, animation, architecture, and film clips into eight curatorial sequences that generated unique, visual correspondences and thematic linkages. Upon entering the museum space, the viewer encountered a hovering, translucent armature with elongated vacuum-formed plastic strands that delivered the succession of scripted digitized works through four front projectors, four rear projectors, and a network of glowing fiber optics a delivery mechanism that echoed and embodied the themes of the work presented."^^ ; + "Although Alfred Jensen s work had been examined in major international exhibitions, Concordance, an exhibition of selected major paintings from 1960 to 1980, represented the artist s first comprehensive solo exhibition in Los Angeles. Active since the early 1950s, Jensen discovered his mature artistic voice in 1960, after repudiating abstract expressionist form and color in favor of an art based exclusively on the diagram. In such key works as Cycle Ending, Per I-V (1960) and Parthenon (1962), Jensen developed the parameters of a vision that would define his work over the next twenty years: signs from Mayan calendrical and numerical systems, palette from Goethian color theory, and patterns echoing Guatemala s landscape, architecture, and textiles. Concordance was organized by Dia Center for the Arts curator Lynne Cooke."^^ ; - "Dark Places"^^ ; + "Alfred Jensen: Concordance"^^ ; . + + + . + "Visual Riches"^^ ; . - - - ; - - "3 x Abstraction: New Methods of Drawing by Hilma af Klint, Emma Kunz, and Agnes Martin juxtaposed 100 rarely if ever seen paintings, drawings, and watercolors by these three artists of different generations. This major historical exhibition illuminated the extraordinary contributions made to abstract art by Hilma af Klint (Sweden, 1862-1944), Emma Kunz (Switzerland, 1892-1963), and Agnes Martin (Canada, 1912-2004). Each used distinctive formal devices particularly line, grid, and geometry to visualize and transform complex philosophical, scientific, and metaphysical ideas into powerful and transcendent works of art. The exhibition focused on a specific period of production within the life of each artist af Klint s spare and evocative compositions made between 1895 and 1920; Kunz s complex large-scale drawings based on mathematical geometries; and Martin s meditative early grids, primarily from the 1960s when the grid was first emerging as a focus of her work. 3 x Abstraction introduced a wider public to the seminal, inspirational work af Klint and Kunz, and presented intriguing new perspectives on the oeuvre of Agnes Martin. 3 x Abstraction was organized by cocurators Catherine de Zegher, director of The Drawing Center, New York, and writer and independent curator Hendel Teicher."^^ ; - - "3 × Abstraction: New Methods of Drawing by Hilma af Klint, Emma Kunz, and Agnes Martin"^^ ; - - . - - - - ; - - "This exhibition of works by New Orleans artist Robert Tannen focused on his multidisciplinary work in sculpture, installation, urban design, and architecture, spanning the preceding thirty years. The presentation focused on ideas and the work as a creative activity rather than passive objects of consumption. Citizen Artist was organized by the Contemporary Art Center in New Orleans, Louisiana."^^ ; - - "Robert Tannen: Citizen Artist"^^ ; - - . - - - - ; - - "Renowned in the 1960s for abstract and figurative painting, for this exhibition Pang returned from a long sojourn in Tokyo to unveil a renewed, redefined body of work. Pang s site-specific installation, a vast, handwoven net cast over the museum s main exhibition space, explored duality in the medium of bamboo at once simple and complex, flexible and strong."^^ ; - - "Liga Pang: New Work"^^ ; - - . - - + - ; - - . + . @@ -1412,27 +1602,17 @@ . - + - . - - - - ; - - "Álvaro Siza/Architect: Drawings, Models, Photographs was the first museum survey in the United States to explore the visionary fifty-year career of preeminent Portuguese architect and Pritzker Prize winner Álvaro Joaquim de Meio Siza Vieira. Designed by Siza himself, the exhibition comprised technical drawings, photographs, models, floor plans, and elevations for five major projects Mário Bahia House, Gondomar, Portugal (1983); Water Tower, Aveiro, Portugal (1988-1989); Santa Maria Church, Marco de Canaveses, Portugal (1990-1996); The Serpentine Gallery Pavilion in collaboration with Eduardo Souto de Moura, London, England (2005); and Iberê Camargo Foundation, Porto Alegre, Brazil (1998-2006). The exhibition also featured forty original travel sketches, highlighting Siza s extraordinary talent as a draftsman."^^ ; - - "Álvaro Siza/Architect: Drawings, Models, Photographs"^^ ; - - . + . - + - ; + ; - "I m not a photographer. I m an artist who uses photography when the idea dictates. And I think that s okay because I m also a performance artist who makes objects, or I m an object-maker who does performances. I think these labels are less important than the ability to go in the directions I d like for each work. - Martin Kersels in conversation with Ian Berry, Associate Director, The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College From September 13 to December 13, 2008, Santa Monica Museum of Art presents Martin Kersels: Heavyweight Champion, the first retrospective of this influential and pioneering Southern California artist. Spanning the years from 1994 to 2007, the exhibition includes thirty-three multimedia artworks ranging from small sculptures, to large-scale photographs, to monumental installations. Kersels has long been esteemed in Southern California artistic and academic circles, and his work is in many collections worldwide. The advent of Heavyweight Champion marks a timely opportunity for this 2008 Guggenheim Foundation Fellow to enjoy the broader recognition and respect his work and creative achievements so well deserve. Kersels is a long-time aficionado of Buster Keaton, and on first encounter, his artwork seems to exude a similar deadpan slapstick style, balancing the humorous with the wistfully awkward. On further study, this initial impression gives way to darker layers; the performances and works reveal what Kersels refers to as wink-wink humor mixed with a tragic element. Early pieces, including the large-scale photographic series of Kersels falling, tripping, tossing people, and being smacked with assorted objects, find the artist experimenting with the creative possibilities of his 6-foot, 7-inch, 350 lb. frame. But the trajectory of Kersels career as illuminated in Heavyweight Champion clearly indicates that he is not a single-issue artist; he is not, in the words of Ian Berry the body-issue guy. Particularly in his later work, the artist has gone in more conceptual directions, to explore themes of scale, time, space, sound, and gravity. Highlights of Heavyweight Champion include the monumental installation Dionysian Stage (2004-2005), a 14-foot-diameter nest that spins like an enormous, natural disco ball, and incorporates all manner of homey, domestic debris in its woven willow branches. The work evolved from Kersels interest in utilizing traditional craft in nontraditional ways, and from his study in Sweden and Denmark with master craftspeople. Rickety (2007), the artist s latest work, is a sculpture that compresses and oppresses furniture and other oversized objects beneath a platform. This lower, slightly topsy-turvy world stands in sharp contrast to the clean openness of the top part of the installation. While some of the other sculptures in the exhibition act as surrogates for Kersels physical being, Rickety is about the experience of the trials and tribulations of navigating a large body through the world. An engaging range of programming accompanies Heavyweight Champion, beginning with a performance by the electrifying jazz/punk/blues band Puttanesca on Friday, September 12, the opening night of the exhibition. The concert will take place atop Rickety. Puttanesca s charismatic vocalist Weba Garretson was, along with Kersels, a member of the performance troupe SHRIMPS, which played a pivotal role in Kersels development as an artist. Subsequent programming includes Heavyweight Lecture Musicale(Tuesday, September 23), Kersels discussion of his work utilizing visual materials, songs, music, and dance, followed by a Q A with the artist; and the dance recital Huh?, choreographed by Melinda Ring specifically for the exhibition, and performed throughout Rickety (Friday and Saturday, November 14 and 15). Heavyweight Champion is accompanied by a full-color catalog illustrating the scope of the artist s work. The publication includes an interview with Martin Kersels by Ian Berry, Associate Director at The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, where the exhibition debuted."^^ ; + "Krieger s multimedia installation explored the consequences of two of Thomas Edison s inventions: the phonograph and the first motion picture studio, which he named the Black Maria. The installation traced the development of these inventions from the late nineteenth century to the present day, suggesting that modern consciousness has been permanently altered by modern applications of Edison s research in particular, by the work of Walt Disney and Andy Warhol. Black Maria was commissioned for the 1994 Artist Project Series and presented as part of LAX: The Los Angeles Exhibition."^^ ; - "Martin Kersels: Heavyweight Champion"^^ ; + "Donald Krieger: Black Maria"^^ ; . @@ -1442,9 +1622,19 @@ . - + + + ; + + "Bruce Pollock: Circling West is the artist s first solo museum exhibition and his West Coast debut. Pollock presents a series of seven 24 × 24 abstract oil paintings that are monochromatic explorations of a single subject matter. He has also created an expansive, site-specific wall drawing that offers a linear interpretation of the geometric scheme used in the paintings. Both the panoramic and the more compact works reveal the artist s fascination with mathematical systems and the recurring patterns and forms found in the natural world. Pollock animates the Project Room 2 space with fractal imagery, geometric structures, and circles, all in shifting levels of scale and density. The paintings are packed with ornate webs, honeycombs, and spirals, mimicking the logic of such organic forms as corals, mollusks, and plants. Each painting focuses on a limited color range; together the seven paintings comprise the spectrum of visible hues. The contrasting light and dark, warm and cool, and bright and dull color tones of these intense microcosms create the illusion of luminosity and deep space. The paint is applied in repeating fractal circles, producing shifting scales and intricate patterns that seem to change depending on the viewer s perspective. The wall drawing exudes a more free-flowing, outwardly directed energy. Its repeated system of patterns tumbles seemingly unimpeded towards all corners of the room, voraciously engulfing whatever surface it comes in contact with."^^ ; + + "Bruce Pollock: Circling West"^^ ; + + . + + - . + . @@ -1452,6 +1642,30 @@ "https://smmoa.org/audio/beat-thing/"^^ . + + + . + + + + ; + + "Yoshitomo Nara is one of Japan s most recognized sculptors within a new generation of hybrid artists including Takashi Murakami, Mariko Mori, and Tao Chiezo. Weaned on American consumerism and daily Japanese cartoons, these artists create works that demonstrate an ambivalent relationship with mass culture. Nara s work combines the idea of mass consumerism of popular culture with the simple forms and colors of traditional Japanese art caricatures. With children and animals as perpetual motifs, his cartoon and manga comics-inspired art takes the form of sculpture, drawings, and painting, as well as T-shirts, watches, posters, and books. His children with their large heads, vacant eyes, and adult expressions express a unique and complex psychology in which cuteness, melancholy, and cruelty are linked. The scale and presence of these teasingly psychological works suggest a darker side of childhood memories even as they are pleasantly reminiscent of a preverbal infancy. This was Nara s first exhibition in an American museum."^^ ; + + "Yoshitomo Nara: Lullaby Supermarket"^^ ; + + . + + + + ; + + "Park Studio: Complex Elements is an exhibition of original glass-blown works by 24 high school student participants from Santa Monica and Watts who have participated in SMMoA s distinguished, annual Park Studio interdisciplinary arts education program. Complex Elements showcases an array of colorless, clear glass vessels in various sizes, forming an abstract sculptural arrangement. These unusual glass-blown forms are the result of a unique collaboration between students from Santa Monica High School, Olympic High School, and Virginia Avenue Park Teen Center, and students from the Watts Labor Community Action Committee s (WLCAC) glass program. In addition, the exhibition will feature a film that shows the participants process of learning how to blow glass and the skill-sharing that develops between students throughout the program. The free Park Studio: Complex Elements education program took place during the Santa Monica-Malibu Unified School District s (SMMUSD) spring break, from April 2 through April 5, 2012. Held at the WLCAC s glass studio in Watts, Park Studio: Complex Elements included a visit to SMMoA and the Watts Towers. Participating students learned the practice of glass blowing from WLCAC artist Jaime Guerrero and his assistant, artist Richard Franco, as well as from year-round students in the WLCAC glass program. All workshops included transportation, lunch, refreshments, and art materials. Complex Elements highlights the collaboration between the disparate communities of Santa Monica and Watts. Students from Santa Monica are recruited from the Pico/Cloverfield neighborhood, Virginia Avenue Park Teen Center, Santa Monica High School s Art Program, and Olympic High School (a continuation school where students are eligible for semester elective credit toward obtaining their high school diploma). Students from the WLCAC glass program will help to impart the knowledge of glass blowing to the youth from Santa Monica and will exhibit their work at SMMoA. Each year, Park Studio explores themes that combine art and urban life. The glass blowing program in Watts works with at-risk youth to build confidence, pride, and skills to work collaboratively through the creation of glass objects. Glass is beautiful and fragile a metaphor for high-school student s transition from adolescence to young adulthood. Park Studio, founded in 1999 by SMMoA s Director of Education Asuka Hisa, is an innovative interdisciplinary art education program that serves the community. Through Park Studio, SMMoA brings local students and contemporary artists together for workshops, art history lessons and field trips to cultural sites, offering extraordinary extra-curricular opportunities to students for free. Support for Park Studio: Complex Elements has been provided by the City of Santa Monica Cultural Affairs Grant Program and the Eileen Harris Norton Family Foundation. In-kind support has been provided by Bergamot Station Arts Center, IZZE, Cliff Bar, Bergamot Café, and the Virginia Avenue Park Teen Center."^^ ; + + "Park Studio: Complex Elements"^^ ; + + . + "Arnold Mesches"^^ ; @@ -1470,41 +1684,33 @@ "https://smmoa.org/audio/project-room-2-kelly-barrie-the-mirror-house/"^^ . - - - ; - - "Using text, sound, and slide and film projections, Opera of Blame examined the contrast between America s most closely held political, moral, and philosophical beliefs and their contemporary legacies. Presenting his conception of a West Coast Statue of Liberty, the artist depicted America as a moribund giant lurching around the Pacific Rim."^^ ; - - "John Mandel: Opera of Blame Artist Project Series"^^ ; - - . + + + ; + + . - + - . + . - + - ; - - . + . - + - ; + ; - . + . - - - ; - - "Presented at the Community Focus Gallery, Visual Riches celebrated the creative energy and talent of the diverse community of artists who live or work in Santa Monica. The exhibition followed in the spirit of the Santa Monica Festival, which presented the artistic and historical heritage of Latinos and African-Americans in Santa Monica. Artists included were Jeanine Brinker, George Centeno, Julia Nee Chu, David Garcia, Marcial Godoy-Opazo, Shannon Tokuda, and Ron Wilkins."^^ ; - - "Visual Riches: Art by African-American, Asian-American, and Latino Artists in Santa Monica Community Focus Series"^^ ; - - . + + + . + + + + . @@ -1512,105 +1718,83 @@ . - - - . - - - - . - - + + + ; - "INCOGNITO, the Santa Monica Museum of Art s highly anticipated annual art exhibition and benefit sale, returned for its fifth year on Saturday, May 2, 2009. The element of surprise that underlies INCOGNITO reflects the essence of discovery that inspires SMMoA s exhibitions, education, and outreach programs. All proceeds directly support the museum, which in 2008 celebrated two decades of creative accomplishment. The annual benefit has raised nearly $1.25 million in its five-year history. Attendees from sophisticated art supporters to first-time collectors, artists, and art enthusiasts are encouraged to trust their instincts to guide their selections, as works are signed on the back and artist identities are revealed only after purchase. In 2009, nearly 700 art enthusiasts mingled among the 650 works from 500 artists the year saw an unprecedented level of participation from iconic and emerging artists from Los Angeles and worldwide. In honor of INCOGNITO s fifth anniversary, John Baldessari designed an extraordinary logo that represents the spirit of this groundbreaking event. INCOGNITO 2009 Participating Artists: Luciana Abait, Gerardo Yepiz Acamonchi, Reverend Ethan Acres, Robert Acuna, Lisa Adams, Nick Agid, Lynn Aldrich, Peter Alexander, Cynthia Alexander, Terry Allen, Rachel Allen, Jami Allen-Snyder, Sophia Allison, Marcos Alvarez, Fumiko Amano, Kathryn Andrews, Eleanor Antin, Carolyn Applegate, Edgar Arceneaux, Oliver Arms, Skip Arnold, Carla Arocha, Joshua Aster, Karen Atkinson, Atopia Architecture, Chad Attie, Donald Baechler, Hilary Baker, John Baldessari, Glen Baldridge, Judie Bamber, Mely Barragan, Ray Barrie, Slater Barron, Judith Barry, Gary Baseman, Dan Bayles, Martin Beck, Tina Beebe, Quinton Bemiller, Tom Benedek, Billy Al Bengston, Sharon Ben-Tal, Jodie Berry, Guillermo Bert, Mariella Bettineschi, Hisham Bharoocha, Joe Biel, Sanford Biggers, Enid Baxter Blader, Alvaro Blancarte, Daniel Bohbot, Lauren Bon, Jill Bonovitz, Derek Boshier, Janet Bothne, Mark Bradford, Leonardo Bravo, Calef Brown, Edgar Bryan, Jeremy Burleson, Bruce Busby, Luke Butler, Kristin Calabrese, Huguette Caland, Joshua Callaghan, Clayton Campbell, Giorgio Carlevaro, Barbara Carrasco, Karen Carson, Scott Marvel Cassidy, Carter Carter, Richard Carter, Jamison Carter, Cole Case, Carmela Castrejon, Enrique Castrejon, Jennifer Celio, Alida Cervantes, Exene Cervenka, Matt Chambers, Jamie Chan, Jeff Charbonneau Eliza French, Fritz Chesnut, Mary Christiansen, Wayne Coe, Greg Colson, Matt Connors, Vanessa Conte, Michael Coughlan, Xavier Cazares Cortez, Erin Cosgrove, Lori Cozen-Geller, Steve Craig, Meg Cranston, Thomas Alan Cronk, Hugo Crosthwaite, Adam Davis, Jay Davis, Len Davis, Tony de Carlo, Raoul de la Sota, Mara De Luca, Michael Dee, Steve DeGroodt, Tony DeLap, Jane Dickson, Ann Diener, Laddie John Dill, Guy Dill, Abby Donovan, Mimi Drop, Sean Duffy, Barry Dukoff, Martin Durazo, Anna Dusi, Mark Dutcher, Mari Eastman, Ashley McLean Emenegger, Elizabeth Enders, Noah Erenberg, Samuel Erenberg, Carol Es, Marion Estes, Vidal Pinto Estrada, Ned Evans, Kota Ezawa, Mollie Favour, Diane Fenster, Carolyn Fernandez, Bruria Finkel, Chris Finley, Urs Fischer, Kim Fisher, Ed Flynn, Kianga Ford, Simone Forti, Andrew Foster, Bryan Freeny, Jona Frank, Terri Friedman, Gajin Fujita, Caroline Furr, Joe Fyfe, Francesca Gabbiani, Charles Gaines, Steve Galloway, Harry Gamboa, Jr., Corina Gamma, Charles Garabedian, Rico Gatson, Jordan Gaunce, Megan Geckler, Ana Marini Genzon, Lawrence Gipe, Milton Glaser, Michael Glier, Dan Goldman, Piero Golia, Marcelino Goncalves, Yolanda Gonzalez, Joe Goode, Michelle Grabner, Alexandra Grant, Cameron Gray, Phyllis Green, Matt Greene, Mark Steven Greenfield, Margaret Griffith, Johan Grimonprez, Gronk, Iva Gueorguieva, Raul Guerrero, Shane Guffogg, Jody Guralnick, Mary Addison Hackett, Lia Halloran, Nancy Jean Hancock, Lynn Hanson, Willie Harris, Kira Lynn Harris, Karen Harter, Doug Harvey, Edgar Heap of Birds, Deborah Hede, Matthew Heller, Roger Herman, Pixie Herms, George Herms, Carlos Hernandez, Katie Herzog, Matthew Higgs, Gilah Yelin Hirsch, Thomas Hirschhorn, Asuka Hisa, Richard Hoblock, Julian Hoeber, Loren Holland, Evan Holloway, Cadillac Holmes, Violet Hopkins, Channa Horwitz, James Howell, Darcy Huebler, Salomon Huerta, David Huffman, Sara Hunsucker, Dusadee Huntrakul, Jessica Hutchins, Eva Hyam, Charles Irvin, Mac James, Max Jansons, Ellen Jantzen, Michael Jantzen, Amparo Jelsma, Greg Jezewski, Vincent Galen Johnson, Matt Johnson, Sharon Kagan, Glenn Kaino, Yoichi Kawamura, Matt Keegan, Szajna Kellman, Mary Kelly, Arnold J. Kemp, Brian Kennon, Kristi Kent, Martin Kersels, Linda King, Kaitlin Kirker, Julie Kirkpatrick, Bill Kleiman, Patricia Knop, Alice Konitz, Olga Koumoundouros, Thomas Kovachevich, Joyce Kozloff, Marcus Kuiland-Nazario, Royce Kunze, Alan Kupchick, Suzy Lake, Julia Latane, Caroline Lathan-Stiefel, Evelyn Lauder, Mimi Lauter, Lauren Lavitt, Diane Lavoie, Brendan Leech, Tom Leeser, Max Lesser, Joshua Levine, Les Levine, Sharon Levy, John Oliver Lewis, Clarence Lin, Jed Lind, Chris Lipomi, Annabel Livermore, Jay Lizo, Karen Lofgren, William Longhauser, Mara Lonner, Renee Lotenero, Richard Louderback, Jean Lowe, John Luebtow, Heriberto Luna, Mela M., Kim MacConnel, Nancy Macko, Christina Madans, Monica Majoli, Constance Mallinson, Daniel Maltzman, Becca Mann, Daniel Marlos, Hudson Marquez, Luigia Martelloni, Virgil Marti, Jessica McCambly, Kim McCarty, Robin McCauley, David McDonald, Rodney McMillian, Christina McPhee, Blue McRight, Rob Mellor, Adrian Meraz, Gretchen Mercedes, Arnold Mesches, Sam Messer, James Miller, Brad Miller, John Miller, Adia Millett, Yunhee Min, Jason Miracle, Robin Mitchell, Bobbie Moline-Kramer, Nancy Monk, Lester Monzon, Dominique Moody, Angeles Moreno, Florian Morlat, Jim Morphesis, Rebecca Morris, Andy Moses, Ed Moses, Joshua Mosley, Avigail Moss, Carter Mull, Dave Muller, Thomas Muller, Manfred Muller, Doug Murphy, Hillary Mushkin, Tucker Neel, Geraldine Neuwirth, Kori Newkirk, Jessica Nicol, Margaret Nielsen, Leonard Nimoy, Danial Nord, Laurie Nye, Chris Oatey, Ruben Ochoa, Matthew Offenbacher, Lorcan O Herlihy, John Okulick, Chris Oliveria, Michael O Malley, Pat O Neill, Yoko Ono, Kaz Oshiro, Jamie Ruiz Otis, John Outterbridge, Simon Ouwerkerk, Jim Ovelmen, Edward Carlo Pacio, Rosieta Pardo, Jeanne Patterson, Ebony G. Patterson, Rene Peralta, Luciano Perna, Renee Petropoulos, Raymond Pettibon, Margaret Pezalla-Granlund, Francis Pezza, Paul Pitsker, Bruce Pollock, Nancy Goslee Power, Lori Precious, Astrid Preston, Stephanie Pryor, Rosamond Purcell, Michael Queenland, Bill Radawec, Elsa Rady, Leta Ramos, Mel Ramos, C.E.B. Reas, David Reed, Miles Regis, Marco Rios, Elwood T. Risk, Ron Rizk, Lynn Robb, John Robertson, Walter Robinson, Jennifer Rochlin, Steve Roden, Brett Cody Rogers, Michael Rosenfeld, Rachel Rosenthal, Rachel J. Roske, Adam Ross, Richard Ross, Erika Rothenberg, Melanie Rothschild, Daniel Ruanova, Allen Ruppersberg, Ed Ruscha, Eddie Ruscha, Jr., Alison Saar, Lezley Saar, Betye Saar, Julia Scher, Shirley Sacks, Souther Salazar, Gwen Samuels, Ruth San Pietro, Adrian Sanchez, Juliao Sarmento, Larry Scharf, Christoph Schmidberger, Lothar Schmitz, Michael Schnorr, Kim Schoen, Kim Schoenstadt, Allison Schulnik, Barbara Schwan, Josh Schweitzer, Chloe Sells, Shelter Serra, Marie Sester, Tom Shannon, Jim Shaw, Peter Shire, Fran Siegel, Justin Siegel, James Siena, Elena Mary Siff, Tif Sigfrids, Richard David Sigmund, Elias Sime, Case Simmons Andrew Burke, Kristina Simonsen, Elizabeth Simonson, Francesco Siqueiros, Keith Sklar, Alex Slade, Rena Small, Barbara T. Smith, Joe Sola, Mariangeles Soto-Diaz, Alyson Souza, Brad Spence, Jeni Spota, Zachary Stadel, Ricky Swallow, Randi Malkin Steinberger, Jennifer Steinkamp, Coleen Sterritt, Mary Clare Stevens, Whitney Stolich, Don Suggs, May Sun, James Surls, Carl Swallow, Ricky Swallow, Ami Tallman, Henry Taylor, Stefon Taylor, Masami Teraoka, Anita Thacher, Mungo Thomson, Mark Todd, Ruben Ortiz Torres, IM Toth, Kerry Tribe, Melly Trochez, David Trulli, Devon T.S. Tsuno, Kim Tucker, Ike Ude, Carrie Ungerman, Miller Updegraff, Kaari Upson, Migdalia Valdes, Lesley Vance, Monique van Genderen, Alison Van Pelt, Jennifer Vanderpool, Ariane Vielmetter, Catherine Wagner, Keith Walsh, Gary Ward, Esther Pearl Watson, Mary Weatherford, Marnie Weber, Roger Weik, Ruth Weisberg, Eric Wesley, Brett Westfall, Benjamin White, Charlie White, Pae White, Patty Wickman, Cynthia Wiggins, Edward Walton Wilcox, William T. Wiley, Brian Wills, Steven Wolkoff, Eve Wood, Susan Woodruff, Miriam Wosk, Tom Wudl, Leslie Yagar, Rosha Yaghmai, Hiro Yamagata, Michiko Yao, Gülbin Yavuz, Liat Yossifor, Kevin and Kent Young, Liz Young, Buzz Yudell, Christine Zelinsky, Jody Zellen, Sharon Zeugin, Bari Ziperstein, Kevin Zucker, Sarah Zwerling"^^ ; + "The first solo museum exhibition of Santa Monica-based artist Miriam Wosk, Euphoria featured three large-scale paintings that were deeply encrusted with a glorious profusion of pearls, glitter, crystals, starfish, collage, and paint. The works resonated palpably with the energy of counterpoints intuition balanced against craft, physicality in conversation with spirituality, and precision coupled with abandon. Combining pictorial elegance with audacious excess, Wosk explored a fantastical, primordial universe born of pouring, painting, airbrushing, gluing, embedding, and coating in a devotional, mantra-like repetition."^^ ; - "INCOGNITO 2009"^^ ; + "Euphoria: Paintings by Miriam Wosk"^^ ; . - + - . + . - + + + . + + - ; + ; - "Curated by Bill Lacy and Susan de Menil, this exhibition included work by ten California architects whose work has been influential in fashioning a new spatial aesthetic with which to view architectural design. While many of the architects are not native Californians, they represent a westward migration ; they were the first generation to incorporate into their work the look of California culture and the environment roads and signs, the chaotic clutter of freeways, strip malls, and frequent natural catastrophes reflecting a brash and idiosyncratic wit."^^ ; + "This first large-scale museum exhibition of Albuquerque s work included paintings, sculpture, installations, drawings, and documentation of the artist s environmental and ephemeral work. The exhibition was initiated and sponsored by the Fellows of Contemporary Art and organized by Henry T. Hopkins of the Frederick R. Weisman Art Foundation; it was accompanied by a catalog featuring thirty-three full-color photographs."^^ ; - "Angels and Franciscans: Innovative Architecture from Los Angeles and San Francisco"^^ ; + "Lita Albuquerque: Reflections"^^ ; . - + + + . + + - ; + ; - "Under Lock and Key, a multimedia video installation by Beth B, a New York film and video artist, explored themes of domestic and criminal violence. At the core of this exhibition was Amnesia, a painting, photographic, and video installation in which fascistic strategies of intimidation were appropriated in a scathing indictment of racism and other destructive attitudes. This exhibition originated at the Wexner Center for the Arts in Columbus, Ohio."^^ ; + "Presented at the Community Focus Gallery, the Museum s satellite exhibition space at Santa Monica Place, and curated by Ronn Davis, The Next Wave In presented work by some of Santa Monica s most talented emerging artists: Derrick Boyd, Marlos Campos, Xiomara De Oliver, Paul Ebia, June Meyers, Elaine Nardini, Eduardo Navas, Gabriel Ortiz, Paul Pitsker, Juan Reveco, and Ehl Veeh."^^ ; - "Beth B: Under Lock and Key and Amnesia"^^ ; + "The Next Wave In: Art by a Selected Group of Recent and Continuing Students from Santa Monica College Community Focus Gallery"^^ ; . - - - . - - - - ; + - "The projection of monumental maps, graphics, and text revealed varied perspectives of the world based on the viewer s position in relation to several vantage points within the gallery. Several video monitors playing programs of reconstructed broadcast television news were interwoven with or disrupted by Williams s own commentaries."^^ ; + "Incognito, Santa Monica Museum of Art s first annual art exhibition and sale, was the most successful benefit in the museum s sixteen-year history. The line to get in began to form at 9:30 a.m.; VIP tickets sold out entirely; and when the doors opened, patrons flooded into the museum, purchasing art at an unprecedented rate. Sales continued briskly as the exhibition continued on Saturday. Incognito featured over 573 original works of art by 432 contemporary artists. The works created were in an identical 8 × 10 inch format and signed only on the back. All were for sale at $250; only after purchase were artist identities revealed. See all the works in Incognito by visiting the Incognito 2004 online catalog designed by Kristin Calabrese."^^ ; - "Pat Ward Williams: Vantage Point Artist Project Series"^^ ; + "INCOGNITO 2004"^^ ; . - - - ; - - . - - - - ; + - "The Santa Monica Museum of Art launched the 2003 Project Room season with Lauren Bon s Hand Held Objects, a series of abstract, biomorphic sculptures that obliquely reference parts of the human body. Spare yet sensual, exposed yet mysterious, the objects in the exhibition were actually handled by visitors."^^ ; + "From the roughly-hewn to the finish fetish, the witty to the serious, Morrison uses materials as diverse as tape, fiberglass, cast aluminum, and found objects in his sculpture. His work embraces a long tradition of figurative sculpture, architecture, and gestural painting, along with a healthy dose of cheeky irony."^^ ; - "Lauren Bon: Hand Held Objects"^^ ; + "Joel Morrison"^^ ; . - - - . - "Fred Wilson"^^ ; . - - - . - ; "https://smmoa.org/audio/project-room-2-daniel-cummings-recent-paintings/"^^ . - - - ; - - "A Photographer Rediscovered offered a critical reappraisal of Lee Miller s work and development as an artist. Her contributions, until recently under-recognized, include being the first American female photojournalist during World War II and the coinventor of the photographic process of solarization (with artist Man Ray). Until this exhibition, Miller s work had not been on public view since 1932. A Photographer Rediscovered was curated by Jane Livingston (formerly at the Corcoran Gallery of Art in Washington, D.C.) and organized by the California International Arts Foundation."^^ ; - - "Lee Miller: A Photographer Rediscovered"^^ ; - - . + + + . + + + + . @@ -1624,43 +1808,29 @@ . - - - . - - - - ; - - "Kelly Barrie: Mirror House is a new, large-format photographic work created especially for Project Room 1 at the Santa Monica Museum of Art. Including drawing, dance, performance, and digital collage, Barrie s work investigates the relationship between historical memory and aesthetic practice in this case, using Hurricane Katrina as the backdrop. Barrie uses images of the effects of traumatic events as his artistic source material. Mirror House began with a found photograph of a flooded house and tree from New Orleans in the aftermath of Katrina. The ghost image of the scene evokes a dreamscape rather than a pictorial representation of a calamity. The end result is a poignant, Surrealist-like mural that transforms a real-life disaster into a disorienting but beautiful reverie. Barrie s multi-dimensional process combines many artistic genres. He performs his response to found photographs on his studio floor by literally drawing the image with his feet, dragging photo-luminescent pigment on black paper with toe drags, heel spins, snake walks, and foot sweeps. He then photographs his drawing with a 35 mm camera utilizing natural daylight stored in the light-sensitive powder. The powder s light is released by using the vertical blinds in the studio as a type of aperture. More than seventy photographs were taken with a grid system to document the drawing. Barrie then digitally stitched these photographs together to construct the finished work which is both haunting and painterly. This exhibition has been supported by David Knaus. Special thanks to Michael Maloney."^^ ; - - "Kelly Barrie: Mirror House"^^ ; - - . - - + - ; + ; - "For Penetrable Vessels, Jill Bonovitz used the thinnest wire to create, in her words, the edges of what s not there. These intimate, ethereal, and personal vessel forms, at once intriguing and playful, reveal how the shapes between the wires are just as important as the wires themselves. Inspired by the random scribbles of her year-old grandchild and the intricate weaving of a spider s web, Bonovitz created a body of work that both embodies and defies the vessel form. She explored a range of aesthetic interests the process of drawing, the physicality of sculpted objects, and the translucency of materials that have engaged her over the past twenty-five years of working in porcelain and clay."^^ ; + "This landmark exhibition of contemporary Chicano art from private Chicano collections in Southern California portrayed Chicano art and culture through the eyes of the community of collectors who support and preserve it. Guest curator Chon Noriega, assistant professor at UCLA, presented art that addressed aesthetic, sociopolitical, and economic issues. With works drawn from seven distinguished Los Angeles collections, the exhibition also focused on the practice of collecting itself, highlighting approaches as diverse as the range of art represented. Among the artists included were Carlos Almaraz, Alfredo Banuelos de Haro, Marietta Bernstorff, Barbara Carrasco, Victor Durazo, Elsa Flores, Jose Galvez, Diane Gamboa, Roberto Gil de Montes, Yolanda Gonzalez, Salomon Huerta, Joseph Maruska, Daniel J. Martinez, David Serrano, and John Valadez."^^ ; - "Jill Bonovitz: Penetrable Vessels"^^ ; + "East of the River: Chicano Art Collectors Anonymous"^^ ; . - + - ; + ; - "Lee Caruso s video installation through incorporated highly saturated color and sound, creating a feeling of vertigo and the subtle pull of gravity. Images seemed not to be contained within the frame but rather to extend outside it, giving viewers the sensation of no longer being outside of the object but within it. This installation was made possible, in part, by support from Art Center College of Design, Pasadena. The presentation of through was part of All Over the Map, a citywide festival of independent video and new media sponsored by L.A. Freewaves."^^ ; + "Organized by Capp Street Project in San Francisco, Old Glory, New Story presented assemblage, painting, photography, and mixed-media works by artists, architects, and industrial and graphic designers, working both individually and collaboratively. As the new millennium approached, these artists recognized that significant forces had altered and expanded America s social and political landscape over the preceding century. In response, they created new flags and symbols for the United States as it prepared to enter the new century, even as they acknowledged the persistence of this two-hundred-year-old icon. Among the participating artists were Vito Acconci, Squeak Carnwath, Margaret Crane and John Winet, Lewis DeSoto, Douglas Hollis, Suzanne Lacy, Richard Posner, Joe Sam, and Andres Serrano."^^ ; - "Lee Caruso: through"^^ ; + "Old Glory, New Story: Flagging the Twenty-First Century"^^ ; . - + - . + . @@ -1668,36 +1838,40 @@ . - - - ; - - "Crossings was a mixed-media installation using a single, repeated object a plaster cast of an army cot that was multiply reproduced and recontextualized. The resulting constructions conjured images of Arlington Cemetery, Leni Riefenstahl, a bombed city seen from the air, hospital wards, troop ships, and public homeless shelters."^^ ; - - "Lilla Locurto: Crossings"^^ ; - - . + + + . + + + + . - + - ; + ; - "Mark Dutcher s paintings in Gone grappled with questions related to the universal human issues of loss and death, the exploration articulated through an intricate visual vocabulary developed over many years. Specifically, Gone reflected Dutcher s response to Julia Morgan s Chapel of the Chimes in Oakland, California, a columbarium lined with niches that held urns of cremation ashes, as well as flowers and numerous idiosyncratic personal keepsakes to memorialize the dead. Dutcher s paintings were similarly compartmentalized, each cubicle richly decorated with objects suggesting the passage of time and inspiring individual and communal narratives mandala-like braided rag rugs, pinwheel collaged elements, and stacked hour glass forms all suggested animated portals leading to another world. These scenes were inhabited by crudely rendered figures painted in a thick and colorful impasto. At once celebratory and somber, Dutcher s imagery blurred the line between quotidian still life and spiritual dreamscape.  Gone included a new, site-specific work, The Martyrdom of the Philosopher, created especially for the Santa Monica Museum of Art."^^ ; + "Kota Ezawa s work explores the appropriation and mediation of current events and images. He translates found film, video, and photographic footage into simplified drawings and animations that reduce complex imagery to its most essential, two-dimensional elements. For his slide installation On Photography, created specifically for the Santa Monica Museum of Art, Ezawa selected twenty images representing various examples from the history of photography from the 1860s to the present, and from the iconic to the unrecognizable, ranging in source from journalism, to performance documentation, to art photography. His choices were then manually traced, turned back into 35mm slide format, and projected on a continuous loop. Mimicking the feel of a university slide lecture, On Photography functioned as a visual critical essay, using digital drawings instead of words to explore and reveal the history of the medium."^^ ; - "Mark Dutcher: Gone"^^ ; + "Kota Ezawa: On Photography"^^ ; . - - - . - "Pierre Bismuth"^^ ; . + + + ; + + "Coe s cycle of work from 1988 to 1990 presented a thoroughly researched and extraordinarily moving exploration of the American meat industry, from biotechnology and factory farming to meat processing, marketing, and the environment. Organized by Galerie St. Etienne, New York, Porkopolis included forty-eight of Coe s strongest watercolor and graphite drawings and paintings."^^ ; + + "Sue Coe: Porkopolis"^^ ; + + . + "Mitchell Syrop"^^ ; @@ -1710,47 +1884,35 @@ "https://smmoa.org/video/the-making-of-mickalene-thomas-origin-of-the-universe-at-smmoa/"^^ . - - - ; - - "Kota Ezawa s work explores the appropriation and mediation of current events and images. He translates found film, video, and photographic footage into simplified drawings and animations that reduce complex imagery to its most essential, two-dimensional elements. For his slide installation On Photography, created specifically for the Santa Monica Museum of Art, Ezawa selected twenty images representing various examples from the history of photography from the 1860s to the present, and from the iconic to the unrecognizable, ranging in source from journalism, to performance documentation, to art photography. His choices were then manually traced, turned back into 35mm slide format, and projected on a continuous loop. Mimicking the feel of a university slide lecture, On Photography functioned as a visual critical essay, using digital drawings instead of words to explore and reveal the history of the medium."^^ ; - - "Kota Ezawa: On Photography"^^ ; - - . - "Ken Brecher"^^ ; . - - - . + + + "Steve Degroodt and Carl Byron"^^ ; + + . - + - ; + ; - "The first solo museum exhibition of Santa Monica-based artist Miriam Wosk, Euphoria featured three large-scale paintings that were deeply encrusted with a glorious profusion of pearls, glitter, crystals, starfish, collage, and paint. The works resonated palpably with the energy of counterpoints intuition balanced against craft, physicality in conversation with spirituality, and precision coupled with abandon. Combining pictorial elegance with audacious excess, Wosk explored a fantastical, primordial universe born of pouring, painting, airbrushing, gluing, embedding, and coating in a devotional, mantra-like repetition."^^ ; + "In a large-scale video installation, artist and filmmaker Eleanor Antin recreated a 1950s Greenwich Village street an elaborate, life-size stage set that viewers could enter. Audiotapes reproduced street sounds, while narrative video clips created the illusion of people inhabiting the rooms of apartments into which viewers peered, voyeur-like, spying on scenes from a reconstructed past. Minetta Lane addressed issues of personal and cultural history as it suggested the abiding struggle and loneliness of the artist in America."^^ ; - "Euphoria: Paintings by Miriam Wosk"^^ ; + "Eleanor Antin: Minetta Lane—A Ghost Story"^^ ; . - - - "Steve Degroodt and Carl Byron"^^ ; + + + "For this monumental new installation, Michael Asher reconstructed all the temporary walls built in the Santa Monica Museum of Art from 1998 to the present 44 exhibitions worth to create a conceptual history of the Museum. SMMoA has no permanent collection, so its institutional history can only be understood by looking through documents and catalogs. The exhibition s labyrinth of metal and wooden studs, which conformed to the original wall constructions, revealed how the noncollecting Museum a kunsthalle reinvents itself with each new exhibition. Asher s installation translated the historical infrastructure and museological process into visual form, highlighting what would otherwise remain seamlessly hidden. The skeletal frameworks illuminated what art historian Miwon Kwon describes as the temporariness of the architecture of temporary exhibitions. With this work at SMMoA, Asher continued his artistic practice of institutional critique uncovering the ways in which museums and galleries display and interpret art. Visitors were able to view the installation from the front of the main gallery, as well as through a special entrance at the back of the museum. Project Room 2 served as a documentation room, containing floor plans for the 44 exhibitions, including the position of every wall and its exhibition provenance. In addition, a tear-away pair of handouts at the back of SMMoA allowed visitors to review all exhibition floor plans while traversing the installation. Michael Asher is an internationally renowned pioneer of institutional critique and conceptual art. Since the mid-1960s he has explored how museums and other institutions frame the art experience for viewers and influence the cultural dialogue. His interventions use elements that exist or existed at the site. Asher has been featured at such important venues as the Art Institute of Chicago; Centre Georges Pompidou, Paris; Documenta 5 and 7, Kassel, Germany; the Kunsthalle Bern, Switzerland; the Kunstverein Hamburg, Germany; Le Consortium, Dijon, France; Le Nouveau Musée, Villeurbanne, France; the Los Angeles County Museum of Art; the Musée d Art Moderne de la Ville de Paris, France; the Museum of Modern Art, New York; the Skulptur Projekte, Münster, Germany; the Van Abbemuseum Eindhoven, the Netherlands; and the 39th International Art Biennale, in Venice, Italy."^^ ; + + "Michael Asher"^^ ; - . - - - - ; - - . + . @@ -1758,19 +1920,9 @@ . - + - . - - - - ; - - "Agnes Denes: Body Prints, Philosophical Drawings, and Map Projections, 1969 – 1978 is an exhibition of seminal drawings by Land artist Agnes Denes. As an influential pioneer of the Environmental and Conceptual Art movements, Denes’s artistic practice applies the exacting precision and unwavering consistency of mathematics to the often subjective, tenuous, and unstable concepts of ecological awareness and environmental sustainability. The three discrete bodies of work on view at SMMoA demonstrate how Denes marshals the disciplines of geometry, philosophy, cartography, and the physical sciences to create “Visual Philosophy” —her signature method of illustrating how we exist in the world. The exhibition will be on view at SMMoA from September 15 through December 22, 2012. Organized by SMMoA s newly appointed curator-at-large Jeffrey Uslip, Agnes Denes: Body Prints, Philosophical Drawings, and Map Projections, 1969 – 1978 revisits the complex theoretical propositions Denes set forth at the onset of her career. For the past five decades, Denes’s practice has become synonymous with ecologically driven interventions into the landscape and socially driven approaches that symbiotically engage with the environment. Denes’s Body Prints overlay impressions of human breasts and phalluses onto sheets of graph paper to humorously, yet poignantly, transform the body into social critique. In Napoleonic Series: Investigation of World Rulers I Napoleon Overlooking the Elba (1971), Denes transfers the impressions of four penises onto graph paper, creating a sardonic allegory for a, perhaps inadequate, representation of male power. Denes locates this drawing on Elba, the island off the western coast of Italy where Napoleon was first exiled in 1814. By contrast, Design of the Universe (1971) reveals a body print of a female breast morphologically likened to the globe in a more optimistic and fertile projection of the future. Denes’s series of Philosophical Drawings appropriates the veracity of mathematical symmetry and geometric codes to provide shape —a visual logic—to ways of being in the world and visualizing invisible passages of time. Map Projections depicts the globe reconfigured in various spatial distortions and three-dimensional shapes, including seashells, dodecahedrons, ova, cubes, and pyramids. While always academically rigorous, Denes never forgoes her insightful wit: in the drawing Isometric Systems in Isotropic Space Map Projections: The Hot Dog (1976), the world is rendered as an elongated, phallic hot dog. Denes’s method of embedding meaning within the structure of geometric forms allows her to interrogate and undermine issues of representation through Cartesian order. Or more poetically, in Denes’s words, “I love mathematics because I could humanize it, and in turn it gave me perfection and beauty.”  The catalog for this exhibition is made possible by Peter A. Gelles and Eve Steele Gelles and Leslie Tonkonow Artworks + Projects. Major support for Santa Monica Museum of Art exhibitions has been provided by The Andy Warhol Foundation for the Visual Arts. Additional funding has been provided by the City of Santa Monica and the Santa Monica Arts Commission; Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; Dean V. Ambrose; Good Works Foundation and Laura Donnelley; Abby Sher; Rosa and Bob Sinnott; The Audrey and Sydney Irmas Charitable Foundation; Marla and Jeffrey Michaels; Pasadena Art Alliance; and Frederick R. Weisman Art Foundation.  About the artist: Agnes Denes was born in Budapest, Hungary in 1931, raised in Sweden, and educated in the United States. She has participated in solo exhibitions at the Corcoran Gallery of Art, Washington, DC (1974); the ICA, London (1979) and retrospective surveys at the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY (1992); the Samek Art Gallery, Bucknell University, Lewisburg, PA (2003); and the Ludwig Museum, Budapest, Hungary (2008). Her work has been featured in international surveys including the Biennale of Sydney (1976); Documenta 6, Kassel, Germany (1977); the Venice Biennale (1978, 1980, 2001), and more recently The Last Freedom: From the Pioneers of Land Art of the 1960s to Nature in Cyberspace, Ludwig Museum, Koblenz, Germany (October 16, 2011); Systems, Actions Processes: 1965 – 1975, PROA Foundation, Buenos Aires (through September, 2011); Erre: Variations Labyrinthiques, Centre Pompidou, Metz (September 12, 2011 – March 5, 2012); and Light Years: Conceptual Art and the Photograph: 1964 – 1977, Art Institute of Chicago (December 11, 2011 – March 11, 2012). About the curator: Jeffrey Uslip (b. 1977) is a New York-based independent curator, who has organized exhibitions for PS1/MOMA, New York, Artists Space, New York, Columbia University’s Graduate School of Arts and Sciences, California State University, Los Angeles, and LAXART, Los Angeles. He is an online contributor to Art Forum, has lectured at the Whitney Museum of American Art, and is currently a doctoral candidate at The Institute of Fine Arts, New York University."^^ ; - - "Agnes Denes: Body Prints, Philosophical Drawings, and Map Projections, 1969 – 1978"^^ ; - - . + . @@ -1778,11 +1930,15 @@ . - - - ; - - . + + + ; + + "A life-sized female figure clumsily carved from wax melts from the fire burning in her head; the rear-end of a scruffy dog awkwardly wags its mechanical tail. Linked by implication rather than style, this willful selection of disparate works combined to create What Should an Owl do with a Fork, a site-specific installation by Swiss artist Urs Fischer."^^ ; + + "Urs Fischer: What Should an Owl Do with a Fork"^^ ; + + . @@ -1802,189 +1958,149 @@ . - - - ; - - "Conceptual artist Mariella Bettineschi has garnered acclaim in her home country of Italy since the early 1980s. Voyager highlighted portions of her oeuvre from 1999 to 2005, and was Bettineschi s first West Coast museum exhibition. Though abstracted, Voyager nonetheless told a science-fiction story of a young woman s journey through space and time on a quest for omniscience. For SMMoA, Bettineschi created an installation comprising two bodies of work that formed a visual mosaic. The first, a series of light boxes titled At the Speed of Light (2005), transmitted rich colored and gestural light drawings and motion-altered photographs suggesting extraterrestrial travel. The second, Spaceship (1999), consisted of images printed directly on Plexiglas in reflective silver and black, portraying real and imaginary flying machines. Both series used the transparency and luminosity of the glass to combine the poetic and the ethereal with the mechanized and the concrete. At once slick and haunting, Bettineschi s work transported the viewer to an alternate universe."^^ ; - - "Mariella Bettineschi: Voyager"^^ ; - - . - "Lauren Bon"^^ ; . - - - "The Santa Monica Museum of Art was the only West Coast venue for Freestyle, a survey of work by twenty-eight emerging African-American artists, organized by the Studio Museum in Harlem, New York, and curated by its Deputy Director for Exhibitions and Programs, Thelma Golden. The exhibition s title sprung from popular culture and the world of hip-hop freestyle refers to the mutable space where individuals improvise music, creatively mixing on the DJ turntable or dancing in their own groove. The exhibition demonstrated how these talented artists, most born after the Civil Rights movement, have assimilated and reformed the discourse of black art to represent the current moment."^^ ; - - "Freestyle"^^ ; - - . - - - - ; - - "In her first West Coast museum exhibition, Jeni Spota brings contemporary elements to classical themes in her paintings, exploring traditional, often religious, imagery, in a new way. Through her small canvases, the viewer is able to peer into another world, watching epic scenes play out with a surreal, impressionistic twist. In this exhibition, which includes new work, Spota fills her canvases with cramped figures engaged in frenzied activity, complete with choruses of angels, rows of haloed figures, and the Virgin floating, often repeatedly, in a mandorla, creating a heavy, purposeful yet intimate connection with the viewer that is rarely found in the Medieval and Renaissance pieces that her works recall. Other canvases are more abstract in their subject matter, as if she has cut and pasted detailed elements from her works to form a new composite. Don t Tread on Me features a new bronze cast of her paintings, perfectly underscoring Spota s attention to the construction of both narrative and surface. Adopting the flattened pictorial space of medieval icons combined with the rich, globular application of paint, Spota creates an ecstatic, almost abstract surface through her brushstroke technique, in which paint is heaped on in indulgent, cake frosting-like daubs and layers. Spota was born in New York and earned her B.F.A. at State University of New York at Purchase and her M.F.A. from the School of the Art Institute of Chicago. She lives and works in Los Angeles."^^ ; - - "Jeni Spota: Don t Tread on Me"^^ ; - - . - - - - "Callum Morton"^^ ; - - . - - + - ; + ; - "Views from Lookout Mountain marked the first museum exhibition to provide a complete film retrospective in conjunction with a survey of the visual artworks by this important Los Angeles artist. Combining a range of media sculpture, photography, photographic composite prints, film projection, film installation, drawing, and interactive DVD-ROM  the exhibition brought to light Pat O Neill s major works from the early 1960s to the present. Although O Neill s films enjoy a devoted following in the avant-garde film community, the SMMoA exhibition located these works in a visual arts context where they can be most fully appreciated as powerful projections of temporal painting, aural composition, and visual poetry. For the majority of visitors, the exhibition was an edifying introduction to the work of an artist whose unique vision engages all the major aesthetic progressions of the post-War era, and whose techniques anticipated technological innovations. In the accompanying catalog, artist Erika Suderburg sums up: He deploys co-existing strata of obsolescence, repose, revolution, consumption, and anarchic agitation. Ultimately he engages us in seeing. Julie Lazar, director of International Contemporary Arts Network, served as guest curator."^^ ; + "Curated by Bill Lacy and Susan de Menil, this exhibition included work by ten California architects whose work has been influential in fashioning a new spatial aesthetic with which to view architectural design. While many of the architects are not native Californians, they represent a westward migration ; they were the first generation to incorporate into their work the look of California culture and the environment roads and signs, the chaotic clutter of freeways, strip malls, and frequent natural catastrophes reflecting a brash and idiosyncratic wit."^^ ; - "Pat O Neill: Views from Lookout Mountain"^^ ; + "Angels and Franciscans: Innovative Architecture from Los Angeles and San Francisco"^^ ; . - + - . - - - - "Old Glory, New Story"^^ ; - - . + ; + + . - + - "Virgil Marti"^^ ; + "Callum Morton"^^ ; . - - - ; + - "Park Studio is the Santa Monica Museum of Art s signature free outreach program offered to neighborhood high school students during spring break. This year, SMMoA s Park Studio collaborates with the LA Opera for Ring Festival LA, which runs from April 15 to June 30, 2010. An exhibition of student work inspired by the themes of Richard Wagner s opera, Der Ring des Nibelungen, entitled Park Studio: RING, will be on view at SMMoA from May 15 through August 21, 2010. Park Studio is developed and organized by Asuka Hisa, SMMoA`s Director of Education. This summer, LA Opera unveils the first complete performances of Richard Wagner`s Ring Cycle ever presented in Los Angeles. In celebration of this monumental event, LA Opera has joined forces with Los Angeles cultural and educational institutions to stage the first significant citywide cultural festival since the 1984 Olympic Arts Festival. SMMoA s partnership with the LA Opera for Ring Festival LA aligns with the goals of the Park Studio program. For Park Studio: RING, approximately twenty high school students will learn about Richard Wagner s seminal work and explore the symbolism of the ring in the opera power, jealousy, desire which has parallels in today s culture. They will participate in Ring Cycle discussions with SMMoA s educators, collaborating artists, and guest speakers, visit the backstage of the LA Opera, and enjoy a dress rehearsal of Götterdämmerung. Finally, with the help of environmental artist Gordon Bowen and his Arts ReFoundry Atelier (a portable foundry made completely from recycled materials), students will interpret the meaning and power of the ring to cast their own original bronze ring-shaped sculptures. The exhibition of the student s bronze works will be displayed at SMMoA from May 15 to August 21, 2010. Park Studio takes interdisciplinary art education outside museum walls and into the community. This free program is held annually during the spring break, when contemporary artists lead workshops, art history lessons, and field trips to cultural sites. Park Studio is open to high school students residing or attending school in the Santa Monica Malibu Unified School District. Students enrolled at Santa Monica`s Olympic High School, a continuation school, may receive a full semester credit toward earning their high school diploma. SMMoA presents this program in partnership with the City of Santa Monica Cultural Affairs Department and the Teen Center at Virginia Avenue Park. For over 10 years, Park Studio has provided unforgettable and formative experiences for teens. Through transformative experiences of art making and collaboration with established artists and organizations, participants gain access to ideas and opportunities that have the potential to shape their adult lives."^^ ; + [] ; + + [] ; - "Park Studio: RING"^^ ; + "Cars into Bicycles at Bergamot Station Arts Center"^^ ; . - + - ; + ; - . + . - + - ; + ; - "Richard Jackson s monumental kinetic painting installation combined painted walls, freestanding sculptures, and spinning fiberglass figures to create disorienting optical and perceptual illusions. Jackson s active interest in geometric abstraction, minimalism, and conceptual art, and the ideas associated with these movements, informed his own art-making and raised questions concerning representation, perception, and the process of painting."^^ ; + "London video artist Mark Leckey presented Fiorucci Made Me Hardcore, a large projection documenting the history of dance culture in the U.K., from northern soul clubs to acid house raves. Sound-tracked by the artist s own music, the collaged video footage enveloped viewers in a heady vortex of rhythm and mood, while shifts in style, gesture, and sound underlined the changing cultural and political landscape."^^ ; - "Richard Jackson: Big Confusing Ideas Artist Project Series"^^ ; + "Mark Leckey: Fiorucci Made Me Hardcore"^^ ; . - - - ; + - "Alison Saar s work explores freedom and choice, apathy and resistance. The Museum presented Traveling Light, Topsy Turvey, and Compton Nocturne, three monumental sculptures made of wood and bronze, some incorporating sound and moving images. These figurative hybrids are both human and mythic, sometimes blurring the line between popular culture and ancient mythologies. This exhibition also marked the West Coast premiere of Tree Souls, a striking sixteen-foot-high sculpture made from real trees, which was exhibited at the Brooklyn Museum in 1996."^^ ; + "Hosted by the Santa Monica Museum of Art, the 1993 annual exhibition of the Los Angeles Center for Photographic Studies included photographic work by LACPS members from around the country. Juried by Ann Goldstein, Associate Curator for the Museum of Contemporary Art, Los Angeles."^^ ; - "Alison Saar: Traveling Light, Topsy Turvey, Compton Nocturne, and Tree Souls Artist Project Series"^^ ; + "1993 Los Angeles Center for Photographic Studies Annual Exhibition"^^ ; . - - - ; - - "For Judgment Modification (After Memling), Brody Condon recreated The Last Judgment by Hans Memling (1467-71) in current computer game visual styles. While Condon s previous work was characterized by the subversive tactics of hacking and the intervention into commercial computer games, Judgment Modification revealed his shift to composing projected moving-image installations that function as animated paintings. These noninteractive self-playing games run continuously, like games waiting for the viewer to pick up the controller. Condon s creative process is informed by the software hacking logic he learned directly from online and offline fan subcultures. In his work he often reinterprets historical events and existing artworks. Examples of this include a two-hour Deathmatch battle between medieval reenactors (Untitled War, 2004) at Machine Project; and a computer simulation of the siege of the Branch Davidian compound in Waco, Texas, featuring an AK47-wielding David Koresh (Waco Resurrection, 2003, a C-level collaboration). Trained as a sculptor, Condon uses technology as the raw material for his art, creating works that are both profound and playful. Condon lived for a number of years in the Netherlands, where he had easy access to 15th-century European religious paintings. He believes that these works influence the visual style of games and fantasy art. He also believes that the catastrophic thinking these works reflect has greatly influenced the current political discourse. The references to monsters and wars, the emergence of readings of the Bible, the distrust of science, the faith in religious structures to solve our problems, this type of pre-modern thinking is rooted in the late-Medieval period in northern Europe, notes Condon."^^ ; - - "Brody Condon: Judgment Modification (After Memling)"^^ ; + + + "Old Glory, New Story"^^ ; - . + . - + - "Liza Lou"^^ ; + "Virgil Marti"^^ ; . - - - ; + - "Collages Collages surveyed a series of thirty-six small-scale collages created by Los Angeles artist Roy Dowell over the course of one year, beginning in the summer of 1991. All of the images in the series are 6 × 9 inches and are composed of scraps of found paper used handbills, remnants of billboards, advertisements, and posters: the recycled detritus of everyday life. Using photo-based reproductions as source material, the artist s collages suggest meaning as a hybrid of popular culture and a lexicon of abstraction."^^ ; + "This exhibition brought together more than fifty posters produced by the preeminent graphic artist Milton Glaser from his iconic Dylan to his series for the Palermo Opera House. One of the most influential figures in the history of international design, Glaser has worked in a great variety of forms, including posters, book jackets, album sleeves, CD covers, store and restaurant designs, toy creations, magazine formats, and logotypes."^^ ; - "Roy Dowell: Collages Collages Community Focus Gallery"^^ ; + "Milton Glaser"^^ ; . - + - ; - - . + . + + + + . + + + + "Liza Lou"^^ ; + + . - + - ; + ; - "The Alphabet of Lili, a suite of twenty-six large-scale drawings in acrylic and charcoal, documented Glier s daily experience of parenting and transformations in his life after he and his wife, Jenny Holzer, moved to a farm in upstate New York to raise their daughter, Lili. Exploring the Cubist proposition that perception is not only vision but also memory, Glier s drawings are the product of periods of sustained observation on a single topic, buffeted by whimsy, emotion, accident, strong ideas, and daily life."^^ ; + "Nishio s mixed-media installation utilized ready-made surveillance systems and security hardware designed to block or limit access, arranged to spell out such words as S-A-F-E and A-R-M-E-D-R-E-S-P-O-N-S-E. An assortment of recognizable objects chain-link fence, two-way mirrors, window guards, railings, surveillance systems created a psychological landscape of our fears, anxieties, and our need for protection."^^ ; - "Mike Glier: The Alphabet of Lili"^^ ; + "Linda Nishio: Protekshun (and the Desire to Surrender) Artist Project Series"^^ ; . - + - . + . - - - "Hey mister, which way to the donkey show? If you don t like the picture, blame the ass. For over a century, millions of Americans have put on sombreros and posed for tourist photographs on top of donkeys in the border city of Tijuana, Mexico. For almost as long, one of the greatest urban legends in all of California history has been the Tijuana donkey show, the much-rumored, often-referenced, but never proven south of the border sex show that is perpetually re-invented in American high school locker rooms. The Donkey Show explores the border s intersection of myth and reality through a blend of over 200 rare tourist photographs, vintage nightlife ephemera, and pop songs born of American myths of Tijuana. The exhibition is guest curated by cultural anthropologist and graphic design historian Jim Heimann and author and music critic Josh Kun. The Donkey Show, one of the greatest urban legends in all of border history has been a key narrative of the American tourist since WWII. It has been referenced in songs, Hollywood films, and for decades has lurked in the dark corners of American fantasies about what lies just below the borderline-that capital of boundless vice and sombrero-clad savagery where morals drown in tequila, men offer their wives and sisters for the right price, and where only the taxi drivers (those tour guides of the forbidden) know the way to the donkey show. The myth of the donkey show proliferated as Tijuana s reputation as a den of ill repute grew in the American mind, from U.S. sex comics such as Tijuana Bibles and early U.S. smut films set in Tijuana, to local burlesque and prostitution houses. The trip to Tijuana soon became a rite of passage for California teenagers, memorialized in movies such as Big Wednesday and Losin It (which featured Tom Cruise leading the Tijuana charge) and TV shows such as Moesha and The OC. The other donkey is the one that the millions of tourists who ve visited Tijuana actually get to know. That donkey is the one they sit on top of wearing sombreros lettered with Just Married, On My Ass, and Still Drunk in front of a painted backdrop of Old Mexico, posing for souvenir photographs snapped by the Mexican entrepreneurs who ve been putting smiling Americans atop donkeys-day in, day out-since the turn of the 20th century. That donkey is a source of local business; that donkey is a local joke on American tourists looking for the real thing and getting Mexican make-believe. Beginning in the late 1880s, Tijuana was fertile soil for American investment and American tourism, an early hub of hot springs, horse races, casinos and bullfights that exploded once Prohibition went into effect. American newspaper, railroad, and entertainment moguls poured money into the small dusty town (in 1900, Tijuana had a population of only 242) that was a short carriage ride from San Diego, creating a haven for vices unattainable on the opposite side of the border. Americans crossed the border to lose themselves in a fun house of racial stereotypes, seeing native dances and cock fights, donning serapes and sombreros, and posing with donkeys before they headed back home. It didn t take long for Tjuana locals to start cashing in on the distortions that Americans were expecting to find, giving the tourists want they wanted to see: old Mexico, the sleepy Mexican, the Spanish señorita, the fat mustachioed bandido. By 1938, the Mexicans who ran the donkey cart photo stands began to paint black stripes on their animal stars so they could be better seen on the increasingly inferior film stock. Ever since, not only have millions of tourists sat on top of donkeys posing as Mexicans, they ve sat on top of zonkeys posing as Mexicans. The striped donkey has become something of an official Tijuana mascot, lending its name and image to local bars, local industry, and as of 2010, even to a new city basketball team (Los Zonkeys). The striped donkey is characteristic of the city, Tijuana journalist Aida Silva Hernandez once wrote, It is the history of Tijuana. The Donkey Show assembles over 200 tourist donkey cart photos from the early 1900s-1980s (one that even includes F. Scott Fitzgerald), alongside rare Tijuana nightlife, burlesque, and vice ephemera. The images are joined by a soundtrack culled from dozens of US pop, rock, and blues songs about the imaginary Mexico that awaits American tourists once they head south of the border. Like the donkey show of legend, The Donkey Show plays with the power of the border s bait and switch: the show promises the forbidden but delivers cultural history and critique. What has driven millions of Americans of all backgrounds-white, Black, Latino, young, old-to have their picture taken on a donkey for well over a century? How have Mexican entrepreneurs turned American myth into local business and local culture? In a photo of a tourist and a donkey, which one is the ass? And most importantly, how do you get to the donkey show? Biographies of the guest curators: Jim Heimann is a cultural anthropologist and graphic design historian who is Executive Editor for TASCHEN America. He is the author of numerous books on architecture, pop culture, and the history of the West Coast, Los Angeles and Hollywood. The Donkey Show draws heavily from his private collection of ephemera that has been featured in museum exhibitions around the world and in dozens of books. Josh Kun is an author, music critic, and professor in the Annenberg School for Communication and Journalism at the University of Southern California, where he directs the Popular Music Project of The Norman Lear Center. He has taught and written extensively on the cultural worlds connecting Southern California and Tijuana, Mexico."^^ ; - - "The Donkey Show"^^ ; - - . + + + . - + - ; + ; - "SMMoA presents the United States premier of Sabbath 2008, a video which documents the closing down of the ultra-orthodox neighborhoods in and around Jerusalem on the eve of the Sabbath. In most cases, public access to these neighborhoods is blocked by means of temporary barriers, which remain closed for 24 hours thus creating an artificial border between the orthodox areas and the rest of the city. The barriers are put in place by neighborhood residents, with the approval and support of the Jerusalem municipality and the police. The city therefore becomes topologically transformed into two cities one with and one without cars. Although the value of these somewhat rickety barriers may appear symbolic, their presence is sometimes a source of friction and conflict; they delineate a clear cut boundary between the sacred and the everyday. Pereg s subject matter is often full of political tension, but in Sabbath 2008, she has created a film that is objective in offering a documentary view of an important aspect of religious Jewish life. Pereg was born in Israel in 1969, and now lives in Israel and Germany. She received her B.F.A from Cooper Union in New York, and graduated from the Bezalel M.F.A studio program in Jerusalem. Her works have been exhibited at such venues as PS 1 New York; HDK Berlin; ZKM Karlsruhe; the Israel Museum in Jerusalem; Herzliya Museum of Contemporary Art; Liverpool Biennial, England (2006); and Loop Video-Art Fair, Barcelona, Spain (2006). Nira Pereg: Sabbath 2008 has been supported in part by The Jewish Federation s Tel Aviv/Los Angeles Partnership."^^ ; + "Jeffrey Wells work stems from wanting to explore and exploit the optical phenomenon that happens to us while doing something as simple as staring at a white wall. His video projections are participatory performances that use light, time and optics to create an element of surprise. For Seeing While Seeing, Wells will create a series of new, site-specific, projected works that mimic a variety of visual phenomena from after-effects and aura to color and shape-shifts the room will literally come alive with his animated projections. Each work makes you question whether what you see is real or is just an animated effect. Wells received his M.F.A from UCLA in 2006, and lives and works in Joshua Tree, California."^^ ; - "Nira Pereg: Sabbath 2008"^^ ; + "Jeffrey Wells: Seeing While Seeing"^^ ; . - + + + . + + - ; + ; - "The Santa Monica Museum of Art s popular gift shop GRACIE presents Astrid Preston: Small Forest, a special weeklong pop-up studio and benefit art sale of stunning new work by this internationally renowned local artist. On view March 21 through March 29, 2012 in the Museum s Project Room 1 and GRACIE shop, Small Forest will feature a unique and luminous collection of vibrant and detailed paintings of trees and birds created exclusively for this special occasion. Small Forest will include more than 100 oil and gouache artistic gems painted on papyrus and wood veneers for sale starting at $200 each. This exceptional collection will be comprised of pieces that range in size from 3 x 4 inches to 8 ½ x 11 inches.  Also on view and for sale will be large wood panels 66 x 33 inches for $14,000 each. Preston s highly sought-after pieces will be sold on a first-come, first-served basis, and will only be available at SMMoA during this special pop-up studio sale. There is a unique quality to trees, with each one having its own beauty and personality, explains Preston. Many cultures have myths about sacred trees. The Japanese tradition of planting trees as a possible dwelling space for good spirits inspired this project, as did my fascination with wood itself playing with the idea of wood, wood grain, and using wood as a canvas . A long-time member and supporter of SMMoA, Preston will generously donate up to 70% of proceeds to support the Museum s exhibition, education, and outreach programs. Preston (b. 1945) was born in Stockholm, Sweden, and lives and works in Santa Monica. She earned a Bachelor of Arts degree in English Literature from the University of California, Los Angeles. Preston s work has been presented in numerous solo exhibitions in museums and galleries, including Laguna Art Museum, Laguna Beach; Los Angeles Institute of Contemporary Art; Wichita Falls Museum Art Center, Texas; Ella Sharp Museum, Jackson, Michigan; Saginaw Art Museum, Michigan; Craig Krull Gallery, Santa Monica; Peter Blake Gallery, Laguna Beach; Jan Turner Gallery, Los Angeles; Gallery Foret Noire, Takamatsu, Japan; and Lux Art Institute, Encinitas, California. Her work has been shown in group exhibitions at San Diego Museum of Art; Long Beach Museum of Art; Orange County Center for Contemporary Art; Design Center of Los Angeles; Schneider Museum of Art, Ashland, Oregon; Bakersfield Museum of Art; McNay Art Museum, San Antonio, Texas; Contemporary Arts Center, New Orleans; New York Academy of Fine Arts; and Korea and Tong Art Museum, Taegu, Korea."^^ ; + "This exhibition, organized by Bruria Finkel, called attention to the civil rights struggle in Tibet and included artworks by John Baldessari, Wallace Berman, Carl Chew, Bruria Finkel, Leon Golub, Noah Purifoy, and Nancy Spero. The Drepung Losling Monks, from one of Tibet s most artistically prestigious monasteries, created a sand mandala at the Museum from July 28 to August 3. The gallery was open for meditation from noon to 1 p.m. each Saturday during the exhibition."^^ ; - "Astrid Preston: Small Forest A Special GRACIE Pop-Up Studio and Benefit Art Sale"^^ ; + "World Artists for Tibet: Human Rights Month Community Focus Gallery"^^ ; . - + - . - - - - . + ; + + . @@ -1992,24 +2108,6 @@ . - - - . - - - - . - - - - ; - - "Leavitt transformed the museum s main gallery into a theater with row seating, a proscenium stage, and a set resembling a suburban living room for this one-act play. An eccentric Rube Goldbergian contraption, engineered by the main character to embody his personal cosmology, became a source of conflict among the five characters, whose various needs were contradictorily affected by the protagonist s creation."^^ ; - - "William Leavitt: Random Trees Artist Project Series"^^ ; - - . - "Stephen Keene"^^ ; @@ -2022,13 +2120,9 @@ . - - - . - - + - . + . @@ -2036,35 +2130,25 @@ . - - - . - - - - . - - + - ; + ; - "Ecstatic Visions and Unnatural Acts featured more than eighty paintings and drawings by Los Angeles artist Margaret Nielsen, spanning the artist s career from 1970 through 1995. This major museum survey linked Nielsen s artistic production with the tradition of American landscape painting and included works that ranged in size from the diminutive to the large scale. Although reminiscent of such diverse artists as surrealist painter René Magritte and nineteenth-century landscape painter Alfred Bierstadt, Nielsen s work reflects the intimacy of a private realm where basic elemental forces fire, water, earth, air become a source of fantasy and mystery."^^ ; + "Adrian Piper s interdisciplinary work addresses the sociological ramifications of her own mixed racial heritage, using herself as both subject and object. This twenty-year survey, curated by Jane Farver of the Alternative Museum in New York, included drawings, photographs, phototext collages, diaries, mixed-media installations, videotape, and audiotapes."^^ ; - "Margaret Nielsen: Ecstatic Visions and Unnatural Acts"^^ ; + "Adrian Piper: Reflections, 1967-1987"^^ ; . - - - ; - - "https://smmoa.org/video/huh-by-melinda-ring-at-smmoa/"^^ . - - - - "Strange New World"^^ ; + + + [] ; + + [] ; + + "INCOGNITO 2011"^^ ; - . + . @@ -2072,33 +2156,63 @@ . + + + ; + + "https://smmoa.org/video/huh-by-melinda-ring-at-smmoa/"^^ . + ; "https://smmoa.org/video/gallery-talk-adam-berg-endangered-spaces-at-smmoa/"^^ . - + - "Rebecca Morris"^^ ; + "Strange New World"^^ ; . - + + + ; + + . + + + + ; - "Proposal for The Side of the Mountain brought together the work of artist Simon Leung and composer Michael Webster in a potent collaboration combining the heightened drama and tragic content of a traditional opera with a minimalist conceptual approach. It is simultaneously an opera-film; a four-channel video/sculpture installation; a work of architecture; a stage-set, and a proposal. Proposal for The Side of the Mountain was organized by SMMoA."^^ ; + "I m not a photographer. I m an artist who uses photography when the idea dictates. And I think that s okay because I m also a performance artist who makes objects, or I m an object-maker who does performances. I think these labels are less important than the ability to go in the directions I d like for each work. - Martin Kersels in conversation with Ian Berry, Associate Director, The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College From September 13 to December 13, 2008, Santa Monica Museum of Art presents Martin Kersels: Heavyweight Champion, the first retrospective of this influential and pioneering Southern California artist. Spanning the years from 1994 to 2007, the exhibition includes thirty-three multimedia artworks ranging from small sculptures, to large-scale photographs, to monumental installations. Kersels has long been esteemed in Southern California artistic and academic circles, and his work is in many collections worldwide. The advent of Heavyweight Champion marks a timely opportunity for this 2008 Guggenheim Foundation Fellow to enjoy the broader recognition and respect his work and creative achievements so well deserve. Kersels is a long-time aficionado of Buster Keaton, and on first encounter, his artwork seems to exude a similar deadpan slapstick style, balancing the humorous with the wistfully awkward. On further study, this initial impression gives way to darker layers; the performances and works reveal what Kersels refers to as wink-wink humor mixed with a tragic element. Early pieces, including the large-scale photographic series of Kersels falling, tripping, tossing people, and being smacked with assorted objects, find the artist experimenting with the creative possibilities of his 6-foot, 7-inch, 350 lb. frame. But the trajectory of Kersels career as illuminated in Heavyweight Champion clearly indicates that he is not a single-issue artist; he is not, in the words of Ian Berry the body-issue guy. Particularly in his later work, the artist has gone in more conceptual directions, to explore themes of scale, time, space, sound, and gravity. Highlights of Heavyweight Champion include the monumental installation Dionysian Stage (2004-2005), a 14-foot-diameter nest that spins like an enormous, natural disco ball, and incorporates all manner of homey, domestic debris in its woven willow branches. The work evolved from Kersels interest in utilizing traditional craft in nontraditional ways, and from his study in Sweden and Denmark with master craftspeople. Rickety (2007), the artist s latest work, is a sculpture that compresses and oppresses furniture and other oversized objects beneath a platform. This lower, slightly topsy-turvy world stands in sharp contrast to the clean openness of the top part of the installation. While some of the other sculptures in the exhibition act as surrogates for Kersels physical being, Rickety is about the experience of the trials and tribulations of navigating a large body through the world. An engaging range of programming accompanies Heavyweight Champion, beginning with a performance by the electrifying jazz/punk/blues band Puttanesca on Friday, September 12, the opening night of the exhibition. The concert will take place atop Rickety. Puttanesca s charismatic vocalist Weba Garretson was, along with Kersels, a member of the performance troupe SHRIMPS, which played a pivotal role in Kersels development as an artist. Subsequent programming includes Heavyweight Lecture Musicale(Tuesday, September 23), Kersels discussion of his work utilizing visual materials, songs, music, and dance, followed by a Q A with the artist; and the dance recital Huh?, choreographed by Melinda Ring specifically for the exhibition, and performed throughout Rickety (Friday and Saturday, November 14 and 15). Heavyweight Champion is accompanied by a full-color catalog illustrating the scope of the artist s work. The publication includes an interview with Martin Kersels by Ian Berry, Associate Director at The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, where the exhibition debuted."^^ ; - "Proposal for The Side of the Mountain, An Opera by Michael Webster and Simon Leung"^^ ; + "Martin Kersels: Heavyweight Champion"^^ ; . - + - ; + ; - "Yoshitomo Nara is one of Japan s most recognized sculptors within a new generation of hybrid artists including Takashi Murakami, Mariko Mori, and Tao Chiezo. Weaned on American consumerism and daily Japanese cartoons, these artists create works that demonstrate an ambivalent relationship with mass culture. Nara s work combines the idea of mass consumerism of popular culture with the simple forms and colors of traditional Japanese art caricatures. With children and animals as perpetual motifs, his cartoon and manga comics-inspired art takes the form of sculpture, drawings, and painting, as well as T-shirts, watches, posters, and books. His children with their large heads, vacant eyes, and adult expressions express a unique and complex psychology in which cuteness, melancholy, and cruelty are linked. The scale and presence of these teasingly psychological works suggest a darker side of childhood memories even as they are pleasantly reminiscent of a preverbal infancy. This was Nara s first exhibition in an American museum."^^ ; + "Extending Jo Ann Callis s ruminations on the home, Domestic Setups consisted of a series of small-scale, color photographs depicting household scenes particularly beds and chairs that Callis had modeled from clay, covered with brightly colored flocking, and arranged to resemble tiny, stage-like rooms. Callis s interest in photography s ability to convey a sense of physical immediacy was evident in these photographs, in which the furnishings suggest the psychological lives of imagined inhabitants through the lively dynamics of color, shape, texture, and arrangement."^^ ; - "Yoshitomo Nara: Lullaby Supermarket"^^ ; + "Jo Ann Callis: Domestic Setups"^^ ; + + . + + + + "Rebecca Morris"^^ ; + + . + + + + ; + + "Mark Dutcher s paintings in Gone grappled with questions related to the universal human issues of loss and death, the exploration articulated through an intricate visual vocabulary developed over many years. Specifically, Gone reflected Dutcher s response to Julia Morgan s Chapel of the Chimes in Oakland, California, a columbarium lined with niches that held urns of cremation ashes, as well as flowers and numerous idiosyncratic personal keepsakes to memorialize the dead. Dutcher s paintings were similarly compartmentalized, each cubicle richly decorated with objects suggesting the passage of time and inspiring individual and communal narratives mandala-like braided rag rugs, pinwheel collaged elements, and stacked hour glass forms all suggested animated portals leading to another world. These scenes were inhabited by crudely rendered figures painted in a thick and colorful impasto. At once celebratory and somber, Dutcher s imagery blurred the line between quotidian still life and spiritual dreamscape.  Gone included a new, site-specific work, The Martyrdom of the Philosopher, created especially for the Santa Monica Museum of Art."^^ ; + + "Mark Dutcher: Gone"^^ ; . @@ -2108,11 +2222,9 @@ "https://smmoa.org/audio/barkley-l-hendricks-birth-of-the-cool-paintings-1964-2007-audio/"^^ . - + - ; - - . + . @@ -2120,61 +2232,43 @@ . - - - ; - - . - - - - "Dutch artist Lara Schnitger produces large, site-specific installations using a variety of mundane materials such as stockings and chopsticks. In this exhibition, her sprawling, tentacular installation transformed the Project Room into a bat cave."^^ ; - - "Lara Schnitger"^^ ; - - . - - - - . - - - - ; - - . - "Jo Ann Callis"^^ ; . - - - . - - - - ; - - . - - - - . + + + ; + + "Using an assembly-line, performance-based painting style, Keene produced more than 10,000 works of art for this exhibition, including benches, lanterns, and tablecloths, as well as paintings. He also set up a studio inside the Museum to let people view the performance of his painting. Keene chose images of works from catalogs of Los Angeles art collections and then duplicated them simultaneously on thirty or forty plywood boards he had set up around the gallery. The paintings were hung throughout the museum salon-style, then sold for prices ranging from $3 to $25. Keene compares his paintings to souvenirs, trading cards, and music CDs: It s art, it s cheap, and it changes your life, but the object has no status. This was Keene s largest show to date and his first exhibition on the West Coast."^^ ; + + "Stephen Keene: Miracle Half Mile: 10,000 Paintings"^^ ; + + . - - - . + + + "Presented in conjunction with the Severin Wunderman Museum, this exhibition featured more than a hundred works by French poet and multimedia artist Jean Cocteau, including stage design, drawing, painting, ceramics, and sculpture. The retrospective was part of a year-long celebration honoring the centenary of Cocteau s birth."^^ ; + + "Retrospective Exhibition of the Visual Art of Jean Cocteau"^^ ; + + . - - - . + + + ; + + "Enigma Variations: Philip Guston and Giorgio de Chirico explored the influence of de Chirico s distinctive vision on Guston, and investigated the two artists shared motifs, subjects, and affinities. Although the Greek-born, Italian de Chirico (1888-1978) and the American Philip Guston (1913-1980) were from different generations and painted in different artistic environments, Guston closely followed de Chirico s work throughout his life. Featuring works from the early and late careers of both artists, Enigma Variations examined Guston s transformation of de Chirico s visual vocabulary antique statues, mannequins, gladiators, clocks, and canvas stretchers through his own unique and inimitable style. Guston s interest in de Chirico s imagery went hand in hand with a heartfelt admiration for the example the older artist set as an artist. De Chirico had weathered a barrage of criticism after his early success with his Metaphysical paintings from the 1910s, but he nonetheless embraced radical change and painted in a variety of styles while serially revisiting his own earlier motifs for the next fifty years. Guston too made a major stylistic shift: away from the formal purity of abstract expressionism from the 1940s and 1950s, which had won him great acclaim to raw, controversial figurative paintings at the end of the 1960s, which were initially harshly reviewed. Enigma Variations featured rarely seen late works by de Chirico, about which Guston remained an outspoken champion, always inspired and delighted by de Chirico s capacity to surprise. Enigma Variations investigated the specific parallels and points of intersection in ideas of these two twentieth-century masters, offering a unique lens through which to see and understand the work. The exhibition was cocurated by Michael Taylor of the Philadelphia Museum of Art and Lisa Melandri of the Santa Monica Museum of Art. 1 (left) Philip Guston By the Window, 1969 Oil on canvas 78 x 81 1/4 inches Private collection, courtesy of McKee Gallery, New York copyright the Estate of Philip Guston (right) Giorgio de Chirico The Poet and His Muse, 1925 Oil and tempera on canvas 35 7/8 x 29 inches Philadelphia Museum of Art, The Louise and Walter Arensberg Collection copyright Artists Rights Society (ARS), New York/SIAE, Rome"^^ ; + + "Enigma Variations: Philip Guston and Giorgio de Chirico"^^ ; + + . - + - . + . @@ -2182,6 +2276,20 @@ . + + + ; + + "Loren Holland s paintings lampoon assumptions about African American women. Her subjects are purposefully stylized to call attention to the way their real-life counterparts have been portrayed in the popular media as mysterious, exotic, sexual, even animalistic beings. Its title inspired by the Santana song of the same name, Black Magic Woman depicted three contemporary Santeria priestesses practicing in a spooky landscape filled with creeping mist. As with traditional representations of saints, each was surrounded by attributes. One, situated in a graveyard, conjured zombies with a nail-punctured human heart, poison from a blowfish, and the miraculous little blue pills that aid in raising the dead. Another, adopting the posture of someone who constantly works on a car in the street, turned her junker into a flourishing witch s garden. The last stood at her vanity, casting spells and hoping to capture the one she loves with the help of a voodoo doll, perfume, and face powder a combination of Chanel and Hershey s Cocoa. In all three cases, Holland fashioned images of creative, resourceful women whose magic is a metaphor for using everyday materials to make the proverbial silk purse from a sow s ear. Her lush and detailed figurative paintings are simultaneously literal and allegorical; they combine the eerie quality of nineteenth-century ghost stories with the visual language of a hip-hop music video. Black Magic Woman also alluded to a theatrical stage set, calling further attention to the artificial construction of the stereotypes it portrayed."^^ ; + + "Loren Holland: Black Magic Woman"^^ ; + + . + + + + . + "Knowledge"^^ ; @@ -2194,21 +2302,25 @@ . - + - ; + ; - "An epic body of work by Los Angeles photographic artist Allan Sekula, Fish Story was created over a five-year period of research that included travel to industrial ports all over the world. This project explored the historical, sociopolitical, aesthetic, and literary connections among such far-flung port cities as New York, Rotterdam, Los Angeles, Hong Kong, and Seoul. Consisting of a sequence of 105 large-scale, color photographs interspersed with narrative panels authored by Sekula, as well as two slide projections, Fish Story wove an intricate web of visual and verbal associations among panoramic views of the sea, detailed close-ups of nautical devices, cargo containers, warehouses, sailors, and shipyard workers, locating the individual elements in an ever-shifting cross-current of global exchange: of goods, money, knowledge, and power. This exhibition was organized by Chris Dercon for the Witte de With Center for Contemporary Art, Rotterdam, the Netherlands, and was accompanied by a full-color catalog."^^ ; + "Commenting on the perfect domestic lifestyle strived for in Southern California s sprawling suburban neighborhoods, Back Yard, an installation by artist Liza Lou, transformed the museum into the quintessential back yard. Remarkably, everything in the setting from the one million blades of grass to the barbecue grill and the picnic table laden with food was constructed from tiny beads. In conjunction with this momentous unveiling of Lou s new work, the Museum also presented Kitchen, a 1995 installation from the collection of Eileen and Peter Norton. This exhibition was the most comprehensive presentation of this Los Angeles artist s work to date. Smart Art Press published an accompanying catalog."^^ ; - "Allan Sekula: Fish Story"^^ ; + "Liza Lou: Back Yard and Kitchen Artist Project Series"^^ ; . - - - "Jennifer Steinkamp"^^ ; + + + ; + + "Coming Soon an entirely new creation by Pierre Bismuth, conceived for the Santa Monica Museum of Art consisted of a single-screen color video montage of the last segments of film trailers. The focus of the piece is embodied in the iconic phrase Coming Soon, with which the typical trailer ends. By relentlessly repeating this language, Bismuth presented a paradox to the viewer, with the words creating an expectation that remains unfulfilled. Pierre Bismuth utilizes diverse media such as drawing, collage, musical composition, and video, to track, document, and reveal the complex thought processes that underlie human memory, comprehension, and interpretation. His work also explores the effects of language and the proliferation of images on every day life. Bismuth has had numerous solo and group exhibitions in such venues as Art Basel; the Venice Biennale; the Art Gallery of York University, Toronto, Canada; Sprengel Museum Hannover; the Kunstmuseum, Thun, Switzerland; and the Palais des Beaux-Arts, Brussels. Born in Paris, Bismuth lives and works in Brussels and London. He is best known to American audiences for his work on the film Eternal Sunshine of the Spotless Mind, for which he, Michel Gondry, and Charlie Kaufman received an Academy Award in 2005 for best original screenplay."^^ ; + + "Pierre Bismuth: Coming Soon"^^ ; - . + . @@ -2216,33 +2328,33 @@ . - + - "Sharon Levy"^^ ; - - . - - - - ; - - "Daniel Cummings: Recent Paintings is the artist s first museum exhibition. Cummings (b. 1980) is a graduate of the MFA program at UCLA in sculpture, where he transferred his interest in 3-dimensional objects to painting. His abstract work plays with space and color in a variety of scales. The result: Deceptively simple, formal compositions that belie complex figure/ground relationships. This exhibition will feature six new works that investigate surface and pictorial depth, as well as the space between abstraction and figuration. In works like Metro, figures seem to emerge from shadowy environments, alluding to deep space and movement. Works like Untitled-with its central, ghostly, soft pink blur placed on background shapes in orange, blue, white, and black-deftly combine loose and semi-transparent washes with carefully wrought pictorial structure. Born in Pittsburgh, he lives and works in Los Angeles."^^ ; - - "Daniel Cummings: Recent Paintings"^^ ; + "Jennifer Steinkamp"^^ ; - . + . + + + + . - + - . + . + + + + "Sharon Levy"^^ ; + + . - + - ; + ; - "Betye Saar addressed concepts of passage, crossroads, change, death, and rebirth in Limbo, an exhibition of several separate installations. The environment that Saar created exuded a meditative atmosphere to involve the viewer emotionally as well as visually. Areas of the installation invited visitors to participate in simple, personal rituals of creative grieving by writing the name of a deceased person on the wall and by waving a rainstick."^^ ; + "A video, sculpture, and sound installation by Native American artist James Luna, The Dream Hat Ritual represented a ceremonial site, replete with willow branches and a bonfire created from stacked video monitors. Luna, a self-described high-tech Indian storyteller, created an environment using slide projections, pop music, bird sounds, videos, and theatrical lighting effects that contrasted romantic and historical perceptions of Native American culture with modern-day, real-life sounds and images. Within this environment, life-sized figures made from cowboy hats, crutches, hairpieces, and boots suggested the physical hardships faced by Native American communities whose populations are ravaged by infirmities related to diabetes and alcoholism."^^ ; - "Betye Saar: Limbo (A Transitional State or Place) Artist Project Series"^^ ; + "James Luna: The Dream Hat Ritual Artist Project Series"^^ ; . @@ -2252,13 +2364,17 @@ . - + + + . + + - ; + ; - "Using an assembly-line, performance-based painting style, Keene produced more than 10,000 works of art for this exhibition, including benches, lanterns, and tablecloths, as well as paintings. He also set up a studio inside the Museum to let people view the performance of his painting. Keene chose images of works from catalogs of Los Angeles art collections and then duplicated them simultaneously on thirty or forty plywood boards he had set up around the gallery. The paintings were hung throughout the museum salon-style, then sold for prices ranging from $3 to $25. Keene compares his paintings to souvenirs, trading cards, and music CDs: It s art, it s cheap, and it changes your life, but the object has no status. This was Keene s largest show to date and his first exhibition on the West Coast."^^ ; + "This mid-career survey of the work of Los Angeles artist Kim Abeles included twelve different bodies of work produced since 1979. From her early kimonos, books, assemblages, shrines, and boxes of the late 1970s to her large-scale sculptures and installations of the 1980s and 1990s, Abeles s work addresses contemporary cultural and social conditions, as she strikes a delicate balance between the didactic and the poetic."^^ ; - "Stephen Keene: Miracle Half Mile: 10,000 Paintings"^^ ; + "Kim Abeles: Encyclopedia Persona A Fifteen-Year Survey"^^ ; . @@ -2268,249 +2384,285 @@ . - - - . + + + ; + + "Organized and guest-curated by critic and art historian David Pagel, this exhibition presented a fifteen-year survey of the work of mid-career artist Jim Isermann, whose work is known for its fusion of painting and sculpture, abstraction, and handicrafts. The first large-scale retrospective devoted to this internationally recognized West Coast artist, the exhibition consisted of thirty-four works, including free-standing sculptures, paintings, wall and ceiling pieces, and several room-size tableaus. In conjunction with the exhibition, the museum commissioned a multiple work, the first its Artists Editions Program: Isermann designed perforated in 16 × 16 vinyl decals in yellow, orange, red, and blue, which could be arranged in his signature overall pattern. The first comprehensive, fully illustrated catalog of Isermann s art, with essays by the curator and critic and art historian Michael Darling, accompanied the exhibition."^^ ; + + "Jim Isermann: Fifteen"^^ ; + + . - + - "Isa Melsheimer"^^ ; + "Lynn Aldrich"^^ ; . - - - . - - + - ; + ; - "Krieger s multimedia installation explored the consequences of two of Thomas Edison s inventions: the phonograph and the first motion picture studio, which he named the Black Maria. The installation traced the development of these inventions from the late nineteenth century to the present day, suggesting that modern consciousness has been permanently altered by modern applications of Edison s research in particular, by the work of Walt Disney and Andy Warhol. Black Maria was commissioned for the 1994 Artist Project Series and presented as part of LAX: The Los Angeles Exhibition."^^ ; + "Unlike her contemporaries, the Viennese Actionists, the seminal Austrian artist VALIE EXPORT created distinctly feminist works intended to provoke social change and to overturn prevailing attitudes towards women. Her early performance art demanded the involvement of the audience on a visceral level. She used her body as a medium as a challenge to erotic hypocrisy, as a way of perceiving and codifying information, and as a means to counter the horrifying political realities of the past. This exhibition presented a thirty-year survey of photographs and videos documenting VALIE EXPORT s early performance works, digital and conceptual photography, expanded cinema, large-scale video installations, and films. Ob/De+Con(Struction) was organized by Elsa Longhauser for the Goldie Paley Gallery at Moore College of Art and Design, Philadelphia."^^ ; - "Donald Krieger: Black Maria"^^ ; + "VALIE EXPORT: Ob/De+Con(Struction)"^^ ; . - - - "Exene Cervenka"^^ ; + + + "Black Belt offered an in-depth look at a particular intersection between African American and Asian American cultures from the 1970s and 1980s. The nearly fifty works in different media by nineteen contemporary American artists of diverse backgrounds interpreted political and philosophical connections among people of color, and explored their resonance in pop culture and urban life. When Carl Douglas s song Everybody was Kung Fu Fighting was a hit, and Bruce Lee was making his last film, Game of Death (costarring Kareem Abdul Jabar), young people break dancing and rhyming in the Bronx were creating the foundation for hip-hop culture. At the same time, the Asian immigration boom was changing the urban landscape of Los Angeles, San Francisco, and New York. Black Belt reflected this unique cross-cultural fascination with Bruce Lee, Kung Fu, and Eastern martial arts imagery in a wide range of works in different media. Black Belt was organized by Christine Y. Kim, the Studio Museum in Harlem."^^ ; + + "Black Belt"^^ ; - . + . - - - "Lynn Aldrich"^^ ; + + + ; + + "Álvaro Siza/Architect: Drawings, Models, Photographs was the first museum survey in the United States to explore the visionary fifty-year career of preeminent Portuguese architect and Pritzker Prize winner Álvaro Joaquim de Meio Siza Vieira. Designed by Siza himself, the exhibition comprised technical drawings, photographs, models, floor plans, and elevations for five major projects Mário Bahia House, Gondomar, Portugal (1983); Water Tower, Aveiro, Portugal (1988-1989); Santa Maria Church, Marco de Canaveses, Portugal (1990-1996); The Serpentine Gallery Pavilion in collaboration with Eduardo Souto de Moura, London, England (2005); and Iberê Camargo Foundation, Porto Alegre, Brazil (1998-2006). The exhibition also featured forty original travel sketches, highlighting Siza s extraordinary talent as a draftsman."^^ ; + + "Álvaro Siza/Architect: Drawings, Models, Photographs"^^ ; - . + . - - - ; + - "Behind the Mask, an installation created for the museum s Focus Gallery by New York artist Luca Buvoli, was the tenth installment in Buvoli s ongoing series, Not a Superhero. The artist s infatuation with American superheroes began when he was a child living in Italy, and it continues in the form of his exploration of the relationship between human aspirations and the larger-than-life capabilities of superheroes. Composed of an artist s book, drawings, collages, and sculpture made from urban detritus (candy wrappers, bits of plastic, wire, and rags), Behind the Mask considered issues of individual, national, and universal identity in relation to the moral struggles of our time struggles that are characterized less by the conflict of good and evil than by ambiguity and guilt."^^ ; + "The Second Annual Incognito art exhibition and sale, one of the most popular and innovative Los Angeles art events of 2005, featured 701 works created by 469 contemporary artists in an identical 8 × 10 inch format and signed only on the back. All works were for sale at $250. Only after purchase were artist identities revealed. Incognito 2005 grossed over $190,000, surpassing 2004 s total and proving to be the most successful fundraising event in the history of SMMoA."^^ ; - "Luca Buvoli: Behind the Mask Community Focus Gallery"^^ ; + "INCOGNITO 2005"^^ ; . - + - . + . - + - . + . - + - ; + ; - "This mid-career survey of the work of Los Angeles artist Kim Abeles included twelve different bodies of work produced since 1979. From her early kimonos, books, assemblages, shrines, and boxes of the late 1970s to her large-scale sculptures and installations of the 1980s and 1990s, Abeles s work addresses contemporary cultural and social conditions, as she strikes a delicate balance between the didactic and the poetic."^^ ; + "Kelly Barrie: Mirror House is a new, large-format photographic work created especially for Project Room 1 at the Santa Monica Museum of Art. Including drawing, dance, performance, and digital collage, Barrie s work investigates the relationship between historical memory and aesthetic practice in this case, using Hurricane Katrina as the backdrop. Barrie uses images of the effects of traumatic events as his artistic source material. Mirror House began with a found photograph of a flooded house and tree from New Orleans in the aftermath of Katrina. The ghost image of the scene evokes a dreamscape rather than a pictorial representation of a calamity. The end result is a poignant, Surrealist-like mural that transforms a real-life disaster into a disorienting but beautiful reverie. Barrie s multi-dimensional process combines many artistic genres. He performs his response to found photographs on his studio floor by literally drawing the image with his feet, dragging photo-luminescent pigment on black paper with toe drags, heel spins, snake walks, and foot sweeps. He then photographs his drawing with a 35 mm camera utilizing natural daylight stored in the light-sensitive powder. The powder s light is released by using the vertical blinds in the studio as a type of aperture. More than seventy photographs were taken with a grid system to document the drawing. Barrie then digitally stitched these photographs together to construct the finished work which is both haunting and painterly. This exhibition has been supported by David Knaus. Special thanks to Michael Maloney."^^ ; - "Kim Abeles: Encyclopedia Persona A Fifteen-Year Survey"^^ ; + "Kelly Barrie: Mirror House"^^ ; . - + - ; + ; - "The renowned artist s first career retrospective highlights his paintings from 1964 to 2007. While Hendricks has worked in a variety of media throughout his career, and has explored diverse subject matter, he is best known for his striking and provocative life-sized portraits of everyday African-American people from the urban northeast. Bringing to mind American realism, pop culture, and post-modernism in a way uniquely his own, Hendricks pioneering contributions to African-American portraiture and conceptualism claims a compelling space somewhere between portraitists Chuck Close and Alex Katz, and African-American conceptualists David Hammons and Adrian Piper. At times cool, at times confrontational, sometimes sexually charged, and always empowering, the work reveals the artist s keen eye for his subject s attire, attitude, style, and point of view. Hendricks groundbreaking body of work has both influenced and paved the way for many of today s generation of artists. Hendricks calls his camera his mechanical sketchbook, as many of his paintings are realized from photographs of people he encountered in daily life. Birth of the Cool is organized by Trevor Schoonmaker, Curator of Contemporary Art at the http://www.nasher.duke.edu/exhibitions_hendricks.php in Durham, North Carolina. The exhibition catalog includes essays by Schoonmaker; Thelma Golden, Director and Chief Curator of the Studio Museum in Harlem; and Franklin Sirmans, Curator of Modern and Contemporary Art at the Menil Collection. Following its presentation at SMMoA, the exhibition will travel to the Pennsylvania Academy of the Fine Arts in Philadelphia, and the Contemporary Arts Museum in Houston. It was also shown at the Studio Museum in Harlem. Born in Philadelphia, the artist studied at the Pennsylvania Academy of the Fine Arts before receiving his B.F.A and M.F.A. at Yale University, where he studied with legendary photographer Walker Evans. He is currently a Professor of Art Studio at Connecticut College, in New London, Connecticut. Birth of the Cool has been named one of Vogue Magazine s top 25 cultural events of the year. The exhibition was organized by the Nasher Museum of Art at Duke University. This exhibition is sponsored in part by the Andy Warhol Foundation for the Visual Arts, Inc., the National Endowment for the Arts, which believes that a great nation deserves great art, the Mary Duke Biddle Foundation, and the North Carolina Arts Council with funding from the State of North Carolina. Support for the presentation at SMMoA is generously provided by the Peter Norton Family Foundation on behalf of Eileen Harris Norton. Additional support provided by Price Latimer Agah, Janine and Lyndon Barrois, and V. Joy Simmons, M.D."^^ ; + "From January 24 to April 18, 2009, the Santa Monica Museum of Art presents Elias Sime: Eye of the Needle, Eye of the Heart, the first survey exhibition in the United States of one of Ethiopia s most original and prolific contemporary artists. The exhibition, co-curated by Meskerem Assegued, a revered Ethiopian curator and anthropologist, and visionary theater, opera, and multi-disciplinary arts impresario, Peter Sellars, is comprised of more than 100 works in a variety of mediums, scale, and forms. A highlight of the exhibition is a series of striking thrones made of leather, wood, mud and straw, which will be integrated into conductor Esa-Pekka Salonen s final Los Angeles Philharmonic concerts staged by Sellars in mid-April. Elias Sime: Eye of the Needle, Eye of the Heart will be accompanied by a film by award-winning filmmakers Jonathan Dayton and Valerie Faris (Little Miss Sunshine) that will uniquely document the exhibition. Using yarn, plastics, tattered fabric, buttons, used plastic, and bottle tops, each of the collages and stitched canvases Sime creates for Elias Sime: Eye of the Needle, Eye of the Heart represent a complete essay about the current state of his surroundings. Sime s three-dimensional sculptures are made with traditional organic Ethiopian building materials such as mud and straw, as well as wood, metal, and other found objects, gathered in part by neighborhood children. It was Sellars passion for Sime s work that initially inspired SMMoA s executive director Elsa Longhauser to consider the idea of an exhibition of Sime s work. During their conversations, Sellars explained that Sime s thrones, designed to elevate and celebrate Ethiopia s street culture, so moved him that he was determined to feature the thrones in his production of Stravinsky s Oedipus Rex and Symphony of Psalms, Salonen s final concerts on April 16, 17, 18 and 19. Sime originally designed the thrones for Sellars 2006 New Crowned Hope Festival, a celebration of Mozart s 250th anniversary in Vienna, Austria. In Elias Sime: Eye of the Needle, Eye of the Heart, the thrones make up part of the installation piece Min Neber, a new iteration of a series of works in which Sime addresses the dignity, wisdom and depth of the ancient indigenous cultures that are rapidly disappearing from Ethiopia. Also, displayed in a semicircle around a small ceremonial table, the installation will include five wall sculptures, made from wood, cans, leather, and stitches, as well as a short, silent video installation documenting indigenous religious practices of small villages in Ethiopia. In Mud and Straw, small mud and straw creatures take over the gallery space. A video installation documents Sime s construction of a Gota, the traditional grain storage container found in northern Ethiopia. BIOGRAPHIES: As a child, Elias Sime taught himself to sew, embroider, and repair furniture. He collected cast-off objects and materials, such as flattened tin cans, and fashioned them into his own creations. Today Sime still collects energetically plastic shopping bags in different colors, plastic shoes, horns from slaughtered cattle and buys some of the raw material for his work, such as buttons, at the Mercato, Addis Abeba s sprawling central market. Just as he gathers materials for making art from the markets and streets, Simé finds the themes for his works in the streets of Addis. He documents the lives and portraits of Ethiopians living in the Cherkos Gebeya, Legaehar and Chide Terra areas surrounding Addis Abeba, where he finds most of his working materials. Sime has deep connections with the communities he documents, in particular with the neighborhood children who bring him objects they collect from the street. Born in Cherkos, outside of Addis Abeba, Ethiopia, Sime graduated from Addis Abeba University s School of Fine Art and Design with a degree in graphic design. His practice focuses mainly on collages, stitches, and three-dimensional sculpture. Sime has had numerous solo shows, and has participated in many group exhibitions including the Studio Museum in Harlem, New York; Peter Sellars New Crowned Hope in Vienna, Austria; the Dak Art Biennale 2004, in Dakar, Senegal; and the Zoma Contemporary Art Center and the National Museum in Addis Ababa. Simé lives and works in Addis Ababa. Peter Sellars, a director of opera, theatre and film, is renowned worldwide for his innovative treatments of classical material from western and non-western traditions, and for exploring the role of the performing arts in contemporary society and his commitment to spreading artistic vision to enact change. He has served as artistic director of the Los Angeles Festival, the American National Theatre at the Kennedy Center, the Boston Shakespeare Company and the Elitch Theatre for Children in Denver. Sellars is a professor in the department of World Arts and Cultures at UCLA, where he teaches Art as Social Action and Art as Moral Action. His past teaching positions include a visiting professorship at the Center for Theatre Arts at UC Berkeley. He resides in Los Angeles. Trained as an anthropologist, Meskerem Assegued is the curator and founder of Addis Abeba s Zoma Contemporary Art Center. In 2006, she curated Green Flame in Vienna, Austria, part of the New Crowned Hope Festival, in which Sime participated. Assegued has served as a selection committee of the 2004 Dak Art Biennale, one of the largest contemporary art exhibitions in the world. In 2007, Assegued was on the selection committee for the African Pavilion in the 52nd Venice Biennale. She lives in Addis Abeba."^^ ; - "Barkley I. Hendricks: Birth of the Cool, Paintings 1964-2007"^^ ; + "Elias Sime: Eye of the Needle, Eye of the Heart"^^ ; . - + + + "Isa Melsheimer"^^ ; + + . + + - ; + ; - "Al Taylor: Wire Instruments and Pet Stains is the first American survey of work by this important and prolific artist. The exhibition features two major series in Taylor s vast oeuvre: Wire Instruments (1989-1990) and Pet Stains (1989-1992). These distinctive bodies of work will illustrate the importance of Taylor s process and creative breadth. Taylor was born in Springfield, Missouri in 1948. He studied at the Kansas City Art Institute and moved to New York in 1970, where he lived and worked until his death at the age of 51 from lung cancer in 1999. Taylor worked for many years as studio assistant to Robert Rauschenberg (where he met his future wife Debbie) and was acquainted with such burgeoning luminaries as James Rosenquist, Cy Twombly, and Brice Marden. Although these relationships nourished Taylor s abundant talent, his future work was inspired but not defined by these friendships. Out of financial necessity, he scavenged art materials from the street. His connection with the commonplace which remained unpredictable and deep resulted in a body of work that is singular, inventive, and eloquent. Taylor began his studio practice as a painter in the seventies and early eighties. By 1985, however, he had developed a unique approach to process that encompassed a synergistic relationship between two-dimensional drawings and three-dimensional assemblages. Taylor s goal was to create a new way to experience and envision space; the works from this period helped him refine his investigations of visual perception across several dimensions. Al felt that his work was research into vision, says Debbie Taylor. His work is really about looking, but he used everything around him. Seeing something could lead him to making one of these pieces, that could combine with something that he d read that morning, or with some music playing on the stereo, or with something on TV. Any of those things could inspire him. Taylor made no distinction between his three-dimensional constructions and his drawings. Dismissing the term sculpture, he preferred to see the 3-D work as drawing in space. Fashioned from such simple elements as wooden broomsticks, wire, carpentry remnants, and other ephemera, his constructions offer a multitude of distinct points of view. Taylor s drawings, in fact, often inspired the development of his three-dimensional works, which he created as an extension, in order to see more. Taylor remarked that [the work] isn t at all about sculptural concerns; it comes from a flatter set of traditions. What I am really after is finding a way to make a group of drawings that you can look around. Like a pool player, I want to have all the angles covered. The drawings and constructions titled Wire Instruments show Taylor experimenting with the simplest variations of geometric form (especially the triangle). These fragile ink, pencil, and gouache drawings and wood and wire constructions have not been the focus of any previous exhibitions or scholarly investigation. Their simplicity and ephemeral beauty provide a poignant glimpse into Taylor s creative production. The body of work called Pet Stains (which includes Pet Stains, Pet Names, Pet Stain Removal Devices, and the Peabody Group) portrays sensuous, abstract imagery of drop-like puddles, formulated with toner, paint, or ink on paper. The constructions in this series are made from wood and Plexiglas that is dribbled and dripped with paint of every viscosity. In this series, Taylor transformed patterns of dog urine on an urban sidewalk into art. The playful ease and subtle humor of these works is apparent: various pee-stains are often tagged with imaginary names of the dogs/artists who made them Buddy, Norman, Getty, Goya, and Everready or, with a nod to Duchamp, given such titles as Puddle Descending a Staircase, and so on. Again, as in Wire Instruments, permutation and variation on the theme is integral to his process how many pet names, how many puddles of pee can he transform into nuanced drawings or quirky constructions. Wire Instruments and Pet Stains will include 47 works. Connie Butler, The Robert Lehman Foundation Chief Curator of Drawings at the Museum of Modern Art, will contribute a major essay to accompany the exhibition. Major support for the exhibition is generously provided by The Andy Warhol Foundation for the Visual Arts and The Audrey and Sydney Irmas Charitable Foundation. Additional support is provided by the Frederick R. Weisman Foundation, Susan and Leonard Nimoy, and David Zwirner, New York."^^ ; + "The renowned artist s first career retrospective highlights his paintings from 1964 to 2007. While Hendricks has worked in a variety of media throughout his career, and has explored diverse subject matter, he is best known for his striking and provocative life-sized portraits of everyday African-American people from the urban northeast. Bringing to mind American realism, pop culture, and post-modernism in a way uniquely his own, Hendricks pioneering contributions to African-American portraiture and conceptualism claims a compelling space somewhere between portraitists Chuck Close and Alex Katz, and African-American conceptualists David Hammons and Adrian Piper. At times cool, at times confrontational, sometimes sexually charged, and always empowering, the work reveals the artist s keen eye for his subject s attire, attitude, style, and point of view. Hendricks groundbreaking body of work has both influenced and paved the way for many of today s generation of artists. Hendricks calls his camera his mechanical sketchbook, as many of his paintings are realized from photographs of people he encountered in daily life. Birth of the Cool is organized by Trevor Schoonmaker, Curator of Contemporary Art at the http://www.nasher.duke.edu/exhibitions_hendricks.php in Durham, North Carolina. The exhibition catalog includes essays by Schoonmaker; Thelma Golden, Director and Chief Curator of the Studio Museum in Harlem; and Franklin Sirmans, Curator of Modern and Contemporary Art at the Menil Collection. Following its presentation at SMMoA, the exhibition will travel to the Pennsylvania Academy of the Fine Arts in Philadelphia, and the Contemporary Arts Museum in Houston. It was also shown at the Studio Museum in Harlem. Born in Philadelphia, the artist studied at the Pennsylvania Academy of the Fine Arts before receiving his B.F.A and M.F.A. at Yale University, where he studied with legendary photographer Walker Evans. He is currently a Professor of Art Studio at Connecticut College, in New London, Connecticut. Birth of the Cool has been named one of Vogue Magazine s top 25 cultural events of the year. The exhibition was organized by the Nasher Museum of Art at Duke University. This exhibition is sponsored in part by the Andy Warhol Foundation for the Visual Arts, Inc., the National Endowment for the Arts, which believes that a great nation deserves great art, the Mary Duke Biddle Foundation, and the North Carolina Arts Council with funding from the State of North Carolina. Support for the presentation at SMMoA is generously provided by the Peter Norton Family Foundation on behalf of Eileen Harris Norton. Additional support provided by Price Latimer Agah, Janine and Lyndon Barrois, and V. Joy Simmons, M.D."^^ , "The renowned artist s first career retrospective highlights his paintings from 1964 to 2007. While Hendricks has worked in a variety of media throughout his career, and has explored diverse subject matter, he is best known for his striking and provocative life-sized portraits of everyday African-American people from the urban northeast. Bringing to mind American realism, pop culture, and post-modernism in a way uniquely his own, Hendricks pioneering contributions to African-American portraiture and conceptualism claims a compelling space somewhere between portraitists Chuck Close and Alex Katz, and African-American conceptualists David Hammons and Adrian Piper. At times cool, at times confrontational, sometimes sexually charged, and always empowering, the work reveals the artist s keen eye for his subject s attire, attitude, style, and point of view. Hendricks groundbreaking body of work has both influenced and paved the way for many of today s generation of artists. Hendricks calls his camera his mechanical sketchbook, as many of his paintings are realized from photographs of people he encountered in daily life. Birth of the Cool is organized by Trevor Schoonmaker, Curator of Contemporary Art at the http://www.nasher.duke.edu/exhibitions_hendricks.php Nasher Museum of Art in Durham, North Carolina. The exhibition catalog includes essays by Schoonmaker; Thelma Golden, Director and Chief Curator of the Studio Museum in Harlem; and Franklin Sirmans, Curator of Modern and Contemporary Art at the Menil Collection. Following its presentation at SMMoA, the exhibition will travel to the Pennsylvania Academy of the Fine Arts in Philadelphia, and the Contemporary Arts Museum in Houston. It was also shown at the Studio Museum in Harlem. Born in Philadelphia, the artist studied at the Pennsylvania Academy of the Fine Arts before receiving his B.F.A and M.F.A. at Yale University, where he studied with legendary photographer Walker Evans. He is currently a Professor of Art Studio at Connecticut College, in New London, Connecticut. Birth of the Cool has been named one of Vogue Magazine s top 25 cultural events of the year. The exhibition was organized by the Nasher Museum of Art at Duke University. This exhibition is sponsored in part by the Andy Warhol Foundation for the Visual Arts, Inc., the National Endowment for the Arts, which believes that a great nation deserves great art, the Mary Duke Biddle Foundation, and the North Carolina Arts Council with funding from the State of North Carolina. Support for the presentation at SMMoA is generously provided by the Peter Norton Family Foundation on behalf of Eileen Harris Norton. Additional support provided by Price Latimer Agah, Janine and Lyndon Barrois, and V. Joy Simmons, M.D."^^ ; - "Al Taylor: Wire Instruments and Pet Stains"^^ ; + "Barkley I. Hendricks: Birth of the Cool, Paintings 1964-2007"^^ ; . - - - "Henry Taylor"^^ ; - - . + + + . - + - "World Artists for Tibet"^^ ; + "Exene Cervenka"^^ ; . - + - ; - - , . + . - - - "The Layered Look"^^ ; - - . + + + ; + + . - + - ; + ; - "Dialogue: Prague/L.A. was an international artistic exchange between a group of young artists from Czechoslovakia and California. During the first phase, in the summer of 1989, nine American artists went to Prague; during the summer of 1990, eleven Czech artists exhibited their work in Los Angeles at the Santa Monica Museum of Art, Otis/Parsons, and the Arroyo Arts Gallery."^^ ; + "Far Off the Beaten Path consisted of five richly textured monumental oil paintings from Annabel Livermore s Big Bend series. Livermore began the series in plein air fashion during three weekend drives along Texas Farm Road 170, on which she hauled along eighteen pieces of plywood. She laid the boards down on the ground before craggy scenes and quickly drew her impressions with a light mixture of oil paint and gasoline. During the next two years she worked on the pictures in her studio in El Paso. Unlike traditional plein air painting, Livermore s landscapes are filled with a brooding implied narrative fractured, jutting, cavernous, and glowing, they suggest a maelstrom brewing above and beneath the surface. Born and raised in the Upper Midwest, Livermore was a librarian before she retired to El Paso to paint. She has completed many radiant and lyrical bodies of work inspired by the cities and scenery of the region, including Jornada del Muerto, N Bar, and Desert Dream City. Her work was included in a 1999 exhibition at the Yale University Art Gallery titled Postmodern Transgressions: Art Beyond the Frame, and has been exhibited at the Cline Fine Art, Santa Fe, New Mexico; the Adair Margo Gallery, El Paso, Texas; and the Art Museum of South Texas, Corpus Christi, Texas."^^ ; - "Ivan Kafka,Vladimir Kokolia, and Vladimir Merta: Dialogue: Prague/L.A."^^ ; + "Far off the Beaten Path: Paintings by Annabel Livermore"^^ ; . - - - ; - - "This survey exhibition of contemporary Japanese art of the 1980s combined work by an older, established generation of artists painter Lee U-Fan, ceramist Kohshoh Itoh, and sculptor Makio Yamaguchi with the installation-based work of a younger generation of artists including Chie Matsui, Chu Enoki, and Toshihiro Kuno. Seven Artists was organized by Kazuo Yamawaki of the Nagoya City Art Museum."^^ ; - - "Seven Artists: Aspects of Contemporary Japanese Art"^^ ; + + + . + + + + . + + + + . + + + + "Henry Taylor"^^ ; - . + . - + - ; + ; - "Milton Glaser for Lapchi: An Exploration of Pattern Making and Color Effects in Textiles is a special weeklong exhibition of the newest work by this iconic American graphic designer. Milton Glaser for Lapchi revitalizes SMMoA s relationship with Glaser and features a unique selection of original, hand-made Lapchi carpets, designed and conceptualized by the artist. With Milton Glaser for Lapchi, SMMoA continues a collaboration that began with Glaser more than a decade ago. In 2001, SMMoA presented Milton Glaser, an exhibition that brought together nearly 70 posters and sketches produced by the artist from his distinctive 1966 Dylan poster to his series for the Teatro Massimo opera house in Italy. In conjunction with Milton Glaser, SMMoA collaborated with the American Institute of Graphic Arts (AIA) to present a reception, lecture, and book signing to celebrate the publication of Glaser s acclaimed book Milton Glaser: Art is Work. With Milton Glaser for Lapchi, SMMoA is thrilled to again present the work of this seminal artist, whose influence on the graphic and commercial arts has been widespread and profound for more than 60 years. Glaser is among the most influential designers in the world. A renowned graphic and architectural designer, his prolific body of work ranges from eminent logos to complete graphic and decorative programs for worldwide clientele. Glaser s illustrious career includes the design and illustration of more than 300 posters, and graphic and architectural commissions for clients in the areas of publishing, music, theater, film, institutional and civic enterprise, and commercial products and services. Among Glaser s most admired works are his I ? NY campaign, which was designed for the 1975 New York State slogan, the complete design and artwork for Tony Kushner s Pulitzer Prize-winning play Angels in America, the signature brand logo for Trump Vodka, and the complete interior design for Rockefeller Plaza s Rainbow Room. SMMoA s first look at the Milton Glaser for Lapchi collection marks the launch of a new collaboration between the legendary artist and the preeminent Lapchi hand-woven custom carpet company. The collection will include 25 distinctive, full size carpets, featuring designs inspired by the mystical to historic pattern references woven in light and dark colorations. The entire collection, on view exclusively at SMMoA during the exhibition, is available in a limited edition of 100 for each design and color scheme. Each carpet will be privately labeled and numbered with the Milton Glaser for Lapchi brand logo. The collection is shown primarily in 8 x 10 sizes, but may be custom sized for decorative flooring or display as wall art. The Milton Glaser for Lapchi collection is woven using Tibetan wool in combination with fine silk from India and China. Untouched by chemical washes or bleach throughout production, the carpets are handspun in the traditional Tibetan sena knot and small pot dyed to create a natural abrashed appearance. Lapchi carpets are certified by GoodWeave, an organization that works to end child labor in the carpet industry and offer educational opportunities to children in South Asia. About the artist:Glaser (b. 1929) was born, works, and lives in New York City. He attended The Cooper Union for the Advancement of Science and Art in New York and, the Academy of Fine Arts in Bologna, Italy where he studied with painter Giorgio Morandi. He holds honorary doctorates from Minneapolis Institute of Arts; Moore College of Art Design; Philadelphia Museum School; School of Visual Arts; Queens College, CUNY; University at Buffalo, New York; and the Royal College of Art in London. Glaser co-founded the revolutionary Pushpin Studios, he founded and was design director of New York Magazine with Clay Felker, established Milton Glaser, Inc., and teamed with Walter Bernard to form the publication design firm WBMG. Glaser received the Honors Awards from the American Institute of Architects (AIA); the Lifetime Achievement Award from the Smithsonian Copper-Hewitt, National Design Museum; and in 2010, he became the first designer to receive The National Medal of Arts, which was presented by President Obama. Glaser s artwork has been featured in solo exhibitions, including in New York at the Museum of Modern Art, Lincoln Center Gallery, Houghton Gallery, and The Cooper Union for the Advancement of Science and Art; in Boston at the Art Institute in Boston; in Italy at the Vicenza Museum, Nuages Gallery, the Galleria Comunale d Arte Moderna in Bologna, and Fondazione Bevilacqua La Masa in Venice; in Japan at Japan s Creation Gallery and the Suntory Museum; and in Paris at the Centre Georges Pompidou. Glaser is represented in permanent collections in New York at the Museum of Modern Art, The Chase Manhattan Bank, and the Cooper Hewitt National Design Museum; in Washington D.C. at the National Archive, Smithsonian Institute; and in Jerusalem at The Israel Museum."^^ ; + "In the eight photographic works presented in Night/Crimes, Los Angeles artist Charles Gaines combined archival photographs of crime scenes and criminals with expansive views of the night sky, entertaining the notion that human events, like cosmic ones, conform to a predictable cycle."^^ ; - "Milton Glaser for Lapchi: An Exploration of Pattern Making and Color Effects in Textiles"^^ ; + "Charles Gaines: Night/Crimes Community Focus Gallery"^^ ; . - + + + "World Artists for Tibet"^^ ; - ; - - "https://smmoa.org/audio/andrew-lord-between-my-hands-to-water-falling-selected-works-from-1990-to-2010/"^^ . + . - + - . + . - + + + . + + - ; + ; - "Sharon Levy s interest in the sublime qualities of the forest and in wood as a medium has led her to craft sculptures of trees in various stages of life and death. For The Wood, Levy created a site-specific installation a poignant fairytale forest evoking wonder, surprise, and pathos. Cookie, the centerpiece of the installation, appeared to be sliced from a giant tree. Made from two canvases stretched on a circular frame, surrounded by foam rubber painted to resemble bark, Cookie towered at nine feet in diameter, dwarfing the viewer. Cookie s painstakingly painted growth rings represented both the tree s age and the duration of the artist s process. The Wood also included Young Pines, two clusters of tree silhouettes with articulated branches jigsaw-cut from pine plywood: a manufactured material returning to its original form. Levy built many of her trees using construction techniques borrowed from theater props, tents, toys, and knock-down furniture; she delights in the irony inherent in creating portable, artificial props to represent such venerable natural objects."^^ ; + "LAX: The Los Angeles Exhibition was the first of an ongoing series of biennial exhibitions held concurrently at eight venues across the Los Angeles area. Included at the Santa Monica Museum of Art were Visiting Hours, a performative installation by Bob Flanagan with Sheree Rose, and Body Politic: Perception and Use of the Body as a Messenger of Social Change, a group exhibition curated by Lizzetta LeFalle-Collins with work by Michele Elizabeth (whose piece included a performance), Todd Gray, and Lyle Ashton Harris."^^ ; - "Sharon Levy: The Wood"^^ ; + "LAX: The Los Angeles Exhibition"^^ ; . - + - . + . - - - . + + + "The Layered Look"^^ ; + + . - + - ; - - . + . - + - ; + ; - "In the eight photographic works presented in Night/Crimes, Los Angeles artist Charles Gaines combined archival photographs of crime scenes and criminals with expansive views of the night sky, entertaining the notion that human events, like cosmic ones, conform to a predictable cycle."^^ ; + "Working in film, video, and installation, Diana Thater has been an innovator in her medium for 20 years and is best known for creating complex visual and spatial environments. Between Science and Magic is a simple, and beautiful, interpretation of movie magic -a century-old expression that still conjures the mythology of Hollywood filmmaking. Thater s project is conceived as a brief history of cinema. Thater s new and innovatory piece recreates, and repositions, a seminal moment in Los Angeles history, when downtown LA was being dreamed into a gilded metropolis and a theater district was built to rival New York s Great White Way. Renowned magician Greg Wilson appears as if filmed within the famed Los Angeles Theatre, the most elaborate of the movie palaces built between 1911 and 1931 on Los Angeles s now-defunct theater row. Thus, the viewer experiences a palpable tension between past and present. The repeated performance of an archetypal magic trick-pulling a rabbit out of a hat-is captured in tones of black, white, and grey; only the magician s skin tone and the rabbit s eyes have a trace of color. A pioneering filmmaker, Thater s work is held in many public collections including the Solomon R. Guggenheim Museum, New York; Tate, London; the Whitney Museum of American Art, New York; the Art Institute of Chicago; and the Museum of Contemporary Art, Los Angeles. She has been the subject of solo exhibitions at such prestigious institutions as the Vienna Secession; The Museum of Modern Art, New York; the Kunsthalle Basel; and The Renaissance Society, Chicago. Most recently, Thater s gorillagorillagorilla-a poignant study of human and animal behavior-was premiered at the Kunsthaus Graz, in collaboration with the Museum of Natural History in London, to celebrate the bicentenary of Charles Darwin s birth. Between Science and Magic is Thater s first solo exhibition in Los Angeles in over 10 years. Support for the exhibition is generously provided by The Broad Art Foundation, The Audrey and Sydney Irmas Charitable Foundation, and The Suzanne Nora Johnson and David Gordon Johnson Foundation."^^ , "Working in film, video, and installation, Diana Thater has been an innovator in her medium for 20 years and is best known for creating complex visual and spatial environments. Between Science and Magic is a simple, and beautiful, interpretation of movie magic -a century-old expression that still conjures the mythology of Hollywood filmmaking. Thater s project is conceived as a brief history of cinema. Thater s new and innovatory piece recreates, and repositions, a seminal moment in Los Angeles history, when downtown LA was being dreamed into a gilded metropolis and a theater district was built to rival New York s Great White Way. Renowned magician Greg Wilson appears as if filmed within the famed Los Angeles Theatre, the most elaborate of the movie palaces built between 1911 and 1931 on Los Angeles s now-defunct theater row. Thus, the viewer experiences a palpable tension between past and present. The repeated performance of an archetypal magic trick-pulling a rabbit out of a hat-is captured in tones of black, white, and grey; only the magician s skin tone and the rabbit s eyes have a trace of color. A pioneering filmmaker, Thater s work is held in many public collections including the Solomon R. Guggenheim Museum, New York; Tate, London; the Whitney Museum of American Art, New York; the Art Institute of Chicago; and the Museum of Contemporary Art, Los Angeles. She has been the subject of solo exhibitions at such prestigious institutions as the Vienna Secession; The Museum of Modern Art, New York; the Kunsthalle Basel; and The Renaissance Society, Chicago. Most recently, Thater s gorillagorillagorilla-a poignant study of human and animal behavior-was premiered at the Kunsthaus Graz, in collaboration with the Museum of Natural History in London, to celebrate the bicentenary of Charles Darwin s birth. Between Science and Magic is Thater s first solo exhibition in Los Angeles in over 10 years. Support for the exhibition is generously provided by The Broad Art Foundation, The Audrey and Sydney Irmas Charitable Foundation, and The Suzanne Nora Johnson and David Gordon Johnson Foundation. Related Links:"^^ ; - "Charles Gaines: Night/Crimes Community Focus Gallery"^^ ; + "Diana Thater: Between Science and Magic"^^ ; . - + - ; + ; - "Induction, a video-and-sound installation created by the collaborative team of Bender and Funicelli, addressed the viewer s interpretation of sensory-based information (images, spoken texts, and music) as it informs, and is informed by, the viewer s own memories, dreams, fantasies, and history. This work, employing as a metaphor the medieval musical technique of organum whereby a fundamental tune is distorted by the dissonant polyphony laid over it challenged the notion that a coherent reality can exist in a time and a culture characterized by contradiction and chaos."^^ ; + "Libro/Oggetto: Italian Artists Books 1960s-Now presents a concise history of Italian art through the form of the artist s book. The artist s book is extremely varied in the imagery, language, medium, and content embraced by its author and the wide range of examples selected for this exhibition emphasizes the possibilities of the genre. In many instances, in fact, the included works do not conform to the traditional structure of a book, or, for that matter, to any conventional art object. They are a hybrid form: book/art/object. Conceived as a complement to Combustione: Alberto Burri and America, Libro/Oggetto features works by Burri s contemporaries and successors, creating a contextual framework for his production. Libro/Oggetto includes work by 49 artists working in a wide array of artistic movements. For example, the Visual Poetry artists of the 1960s and 70s used the book inventively to explore the combination of text and image. Arte Povera, which erupted from within a consumer society marked by mass production, sought to create work with poor means. For these artists, the book became a vehicle for constructing a new, raw visual vocabulary with everyday materials. During the late 1970s and early 80s, the Transavanguardia movement dramatically expanded the definition of painting. For those artists, the book was the perfect format in which to show their new brand of figuration and narrative. A generation of young artists continues to work with this form, expanding upon the trails blazed by their forebears. Libro/Oggetto illustrates the rich diversity inherent in the artist s book, revealing the artistic trends of Italian art over the past 50 years. Libro/Oggetto: Italian Artists Books 1960s-Now features works by: Giovanni Anselmo, Stefano Arienti, Mirella Bentivoglio, Alighiero Boetti, Alberto Burri, Luca Buvoli, Chiara Camoni, Paolo Canevari, Loriana Castano, Maurizio Cattelan, Sandro Chia, Giuseppe Chiari, Francesco Clemente, Enzo Cucchi, Gino de Dominicis, Nicola De Maria, Mario Diacono, Luciano Fabro, Giovanni Ferrario, Emilio Isgrò, Jannis Kounellis, Ketty La Rocca, Andrea Marescalchi, Amedeo Martegani, Luigia Martelloni, Fabio Mauri, Mario Merz, Eugenio Miccini, Bruno Munari, Maurizio Nannucci, Luigi Ontani, Pierpaolo Pagano, Mimmo Paladino, Luca Pancrazzi, Giulio Paolini, Claudio Parmiggiani, Pino Pascali, Giuseppe Penone, Luciano Perna, Lucia Pescador, Lamberto Pignotti, Michelangelo Pistoletto, Arnaldo Pomodoro, Pedro Riz a Porta, Ettore Spalletti, Allessandra Spranzi, Mauro Staccioli, Ernesto Tatafiore, and Emilio Villa. Libro/Oggetto: Italian Artists Books 1960s-Now was organized by guest curators Giovanna Zamboni Paulis and Randi Malkin Steinberger.  Support for the exhibition has been provided by Fondazione Azzurra. Additional support is provided by the Istituto Italiano di Cultura (IIC), Los Angeles."^^ ; - "Stuart Bender and Angelo Funicelli: Induction Artist Project Series"^^ ; + "Libro/Oggetto: Italian Artists Books 1960s–Now"^^ ; . - + + + . + + + + . + + + + . + + - ; + ; - "Coe s cycle of work from 1988 to 1990 presented a thoroughly researched and extraordinarily moving exploration of the American meat industry, from biotechnology and factory farming to meat processing, marketing, and the environment. Organized by Galerie St. Etienne, New York, Porkopolis included forty-eight of Coe s strongest watercolor and graphite drawings and paintings."^^ ; + "Presented at the Community Focus Gallery, Visual Riches celebrated the creative energy and talent of the diverse community of artists who live or work in Santa Monica. The exhibition followed in the spirit of the Santa Monica Festival, which presented the artistic and historical heritage of Latinos and African-Americans in Santa Monica. Artists included were Jeanine Brinker, George Centeno, Julia Nee Chu, David Garcia, Marcial Godoy-Opazo, Shannon Tokuda, and Ron Wilkins."^^ ; - "Sue Coe: Porkopolis"^^ ; + "Visual Riches: Art by African-American, Asian-American, and Latino Artists in Santa Monica Community Focus Series"^^ ; . - + + + ; + + "https://smmoa.org/audio/andrew-lord-between-my-hands-to-water-falling-selected-works-from-1990-to-2010/"^^ . + + - ; + ; - "Investigating the idea that there are impurities and inhibitants in our atmosphere that cause creative blockage, frustration, inefficiency, and confusion, Bruce Busby creates environments, Creativity Enhancement Shelters, in which we can escape these negative forces and regain peace of mind and the ability to think clearly. Designed, cut, and sewn by the artist, the nylon shelters take on a wide variety of shapes, sizes, and color combinations, and appear as idiosyncratic tents. From bifurcated and curvilinear structures to objects suggesting cutting-edge teepees, Busby s shelters include transparent sections, mesh windows, and even, in some cases, a central oculus that imparts a chapel-like environment, perfect for reflection and contemplation. The structures shield their users both physically and conceptually from the vices of the urban landscape. Though sturdy, tensile, and self-supporting, all of Busby s shelters are also completely collapsible and transportable, so that one s filtration system can be taken along and erected anywhere. For his first museum exhibition at SMMoA, Busby created an installation including a new large-scale shelter that is modular and can be attached to any number of other like structures through a system of quick-release buckles and zippers. While his shelters are structured around concepts of mobility and flexibility, Busby s new drawings have a geographic specificity. Included in the exhibition were a series of Busby s Creativity Amplification Quakes (CRAQUE) drawings, depicting intricate, billowing clouds of contamination rising from the actual fault lines of the San Francisco Bay and Los Angeles areas. These lush, detailed renderings have a rich, almost baroque handling, belying a sinister, fluid, and pervading energy that rises from and swirls around the land. Busby began the series as a way to diagram and become intimately reacquainted with the simultaneously beautiful and dangerous California topography. By articulating the literal cracks within these particular landscapes, Busby links the work both to his Bay Area home and to the Santa Monica Museum of Art."^^ ; + "In response to the warm gray concrete block walls and brown steel-beam architectural space of the Project Room, Rebecca Morris created a series of large-scale paintings in black, gray, and brown for Frankenstein. Morris uses large-scale canvases to explore her architectural approach to space within a painting. Foreground, middle ground, and background are assiduously, even aggressively defined. With color fields, grids, dense stylized beams, and groupings of patterns, Morris s intensely intelligent abstract paintings confront the viewer with the rawness of congealed paint skins and metallic spray paint textures."^^ ; - "Bruce Busby: Super Faulty Reconfiguration"^^ ; + "Rebecca Morris: Frankenstein"^^ ; . + + + . + + + + . + "Hannah Wilke"^^ ; . - - - "Al Taylor"^^ ; - - . - - + - ; + ; - "This collaborative installation by visual artist Steve DeGroodt and composer Carl Byron explored the problem of traditional cultures struggling to maintain their identities in a modern world. The work was based on DeGroodt s personal observations during travels to Papua New Guinea and the Fiji Islands. The soundtrack blended field recordings with acoustic and synthesized sounds created by Byron."^^ ; + "The projection of monumental maps, graphics, and text revealed varied perspectives of the world based on the viewer s position in relation to several vantage points within the gallery. Several video monitors playing programs of reconstructed broadcast television news were interwoven with or disrupted by Williams s own commentaries."^^ ; - "Steve Degroodt and Carl Byron: Residue Artist Project Series"^^ ; + "Pat Ward Williams: Vantage Point Artist Project Series"^^ ; . - - - ; - - "Large, sculptural forms were suspended from the brightly painted canopy of the enormous plaster construction, Tree of Life, whose boughs mingled with the museum s wooden rafters. This site-specific work explored the junctions between nature and artifice, painting and sculpture, high art and kitsch exposing Estrada s humorous and nightmarish vision of contemporary culture."^^ ; - - "Victor Estrada: Tree Of Life Artist Project Series"^^ ; + + + "Al Taylor"^^ ; - . + . @@ -2530,21 +2682,23 @@ . - + - ; + ; - "The work in this exhibition was a visual manifestation of an ongoing conversation between Peter Doig, Chris Ofili, and Laura Owens, three painters who, although working separately, had closely followed one another s artistic practice for several years. The three artists each created a new body of work articulating their overlapping interests and influences, while also responding to the Museum s space. Cavepainting was an artist-directed project organized by the museum."^^ ; + "Large-scale, close-range color photographs of everyday objects by contemporary French photographer Patrick Tosani emphasized the enigmatic beauty of the mundane while questioning the nature of photographic representation and how we misread or misinterpret what we see. The exhibition was curated by Sylvia Wolf and circulated by the Art Institute of Chicago."^^ ; - "Cavepainting: Peter Doig, Chris Ofili, and Laura Owens"^^ ; + "Patrick Tosani: Photographer"^^ ; . - + - ; - - . + . + + + + . @@ -2552,15 +2706,43 @@ . + + + . + + + + . + ; "https://smmoa.org/audio/diana-thater-between-science-and-magic/"^^ . - + - . + . + + + + ; + + "Rowe s multimedia installation used sculpture, sound, video, slide projections, text, and photography to recount the life of one invisible woman. The work questioned existence and the quality of existence as it reiterated the artist s interest in the many anonymous people in our society who live unnoticed by and invisible to those around them."^^ ; + + "Sandra Rowe: The Invisible Woman Artist Project Series"^^ ; + + . + + + + ; + + "In Morandi s Lawn, Blue McRight illustrated her ecological and environmental concerns in an installation comprising 682 objects and 13 digital photographs. Each day for a year from April 1, 2003 to April 1, 2004 McRight collected and arranged into a still life the recyclable glass, plastic, and metal containers that she and her husband generated in their household. She digitally photographed each still life and then dismantled it. Next, she painstakingly covered the containers with artificial turf and added them to an ever-expanding floor installation, which literally grew into a huge still life that imitated both topiary and natural lawn in color, texture, and scale. Although Morandi s Lawn documented McRight s own personal daily ritual, it addressed larger contemporary issues of consumerism and consumption, trash production, and recycling. The title of the piece alludes to the Italian artist Giorgio Morandi (1890-1964), who painted such simple household containers as vases, wine bottles, cups, and bowls, in an exquisite celebration of the everyday object. The installation therefore venerated and poked fun at the art-historical genre of still life, while also referencing landscape and garden design."^^ ; + + "Blue McRight: Morandi s Lawn"^^ ; + + . @@ -2568,39 +2750,33 @@ . - + - . + ; + + . - + - ; + ; - "A dance piece choreographed by Davidow and performed by the Pacific Dance Ensemble took place around and within Williams s sculpture."^^ ; + "Al Taylor: Wire Instruments and Pet Stains is the first American survey of work by this important and prolific artist. The exhibition features two major series in Taylor s vast oeuvre: Wire Instruments (1989-1990) and Pet Stains (1989-1992). These distinctive bodies of work will illustrate the importance of Taylor s process and creative breadth. Taylor was born in Springfield, Missouri in 1948. He studied at the Kansas City Art Institute and moved to New York in 1970, where he lived and worked until his death at the age of 51 from lung cancer in 1999. Taylor worked for many years as studio assistant to Robert Rauschenberg (where he met his future wife Debbie) and was acquainted with such burgeoning luminaries as James Rosenquist, Cy Twombly, and Brice Marden. Although these relationships nourished Taylor s abundant talent, his future work was inspired but not defined by these friendships. Out of financial necessity, he scavenged art materials from the street. His connection with the commonplace which remained unpredictable and deep resulted in a body of work that is singular, inventive, and eloquent. Taylor began his studio practice as a painter in the seventies and early eighties. By 1985, however, he had developed a unique approach to process that encompassed a synergistic relationship between two-dimensional drawings and three-dimensional assemblages. Taylor s goal was to create a new way to experience and envision space; the works from this period helped him refine his investigations of visual perception across several dimensions. Al felt that his work was research into vision, says Debbie Taylor. His work is really about looking, but he used everything around him. Seeing something could lead him to making one of these pieces, that could combine with something that he d read that morning, or with some music playing on the stereo, or with something on TV. Any of those things could inspire him. Taylor made no distinction between his three-dimensional constructions and his drawings. Dismissing the term sculpture, he preferred to see the 3-D work as drawing in space. Fashioned from such simple elements as wooden broomsticks, wire, carpentry remnants, and other ephemera, his constructions offer a multitude of distinct points of view. Taylor s drawings, in fact, often inspired the development of his three-dimensional works, which he created as an extension, in order to see more. Taylor remarked that [the work] isn t at all about sculptural concerns; it comes from a flatter set of traditions. What I am really after is finding a way to make a group of drawings that you can look around. Like a pool player, I want to have all the angles covered. The drawings and constructions titled Wire Instruments show Taylor experimenting with the simplest variations of geometric form (especially the triangle). These fragile ink, pencil, and gouache drawings and wood and wire constructions have not been the focus of any previous exhibitions or scholarly investigation. Their simplicity and ephemeral beauty provide a poignant glimpse into Taylor s creative production. The body of work called Pet Stains (which includes Pet Stains, Pet Names, Pet Stain Removal Devices, and the Peabody Group) portrays sensuous, abstract imagery of drop-like puddles, formulated with toner, paint, or ink on paper. The constructions in this series are made from wood and Plexiglas that is dribbled and dripped with paint of every viscosity. In this series, Taylor transformed patterns of dog urine on an urban sidewalk into art. The playful ease and subtle humor of these works is apparent: various pee-stains are often tagged with imaginary names of the dogs/artists who made them Buddy, Norman, Getty, Goya, and Everready or, with a nod to Duchamp, given such titles as Puddle Descending a Staircase, and so on. Again, as in Wire Instruments, permutation and variation on the theme is integral to his process how many pet names, how many puddles of pee can he transform into nuanced drawings or quirky constructions. Wire Instruments and Pet Stains will include 47 works. Connie Butler, The Robert Lehman Foundation Chief Curator of Drawings at the Museum of Modern Art, will contribute a major essay to accompany the exhibition. Major support for the exhibition is generously provided by The Andy Warhol Foundation for the Visual Arts and The Audrey and Sydney Irmas Charitable Foundation. Additional support is provided by the Frederick R. Weisman Foundation, Susan and Leonard Nimoy, and David Zwirner, New York."^^ ; - "Lisabeth Davidow and Megan Williams: Interarts Project at Santa Monica Museum of Art and Beyond Baroque"^^ ; + "Al Taylor: Wire Instruments and Pet Stains"^^ ; . - - - . - - + - . + . - - - ; - - "Fred Wilson: Objects and Installations, 1979-2000 represented a sustained aesthetic inquiry by a distinguished American artist into the relationship between art and the museum. Wilson s mock museum installations, into which he places provocative and beautifully rendered objects, explore the question of how the museum consciously or unconsciously perpetuates prejudice. The exhibition was organized by Maurice Berger and the Center for Art and Visual Culture, University of Maryland, Baltimore County."^^ ; - - "Fred Wilson: Objects and Installations, 1979-2000"^^ ; + + + "Brody Condon"^^ ; - . + . - + ; @@ -2610,35 +2786,15 @@ . - - - . - - - - . - - - - . - - - - "Brody Condon"^^ ; + + + ; + + "An exhibition of the final works by the late visual and performance artist Hannah Wilke, Intra-Venus included large-scale photographs, watercolors, sculptures, and drawings. Wilke s work related to the female nude form an uncompromising record of her own physical deterioration due to lymphoma; central to the exhibit was a series of thirteen larger-than-life-sized portraits. In typical Wilke fashion, the title of these final works, also Intra-Venus, is a pun, referring both to a medical procedure she came to know and to the traditional feminine ideal that was the lifelong focus of her artistic investigation. Intra-Venus was organized by Ronald Feldman Fine Arts, New York, and was accompanied by a catalog."^^ ; + + "Hannah Wilke: Intra-Venus"^^ ; - . - - - - . - - - - . - - - - . + . @@ -2658,65 +2814,63 @@ "https://smmoa.org/audio/project-room-henry-taylor-girrrrrl-audio/"^^ . + + + ; + + "Inspired by the conceptual art exhibition Art By Telephone (Museum of Contemporary Art, Chicago, 1969), in which participants phoned in their specifications for their works of art, artists Kim Schoenstadt and Rita McBride will exchange instructions to create their respective artworks in their first two-person U.S. Museum exhibition. Tell Me Something Good: A Collaboration between Kim Schoenstadt and Rita McBride opens at the Santa Monica Museum of Art on September 12 and will be on view through December 5, 2009. The original 1969 Art By Telephone was curated by Jan van der Marck. Its basic premise was to invite international and out-of-state artists to phone instructions that would be executed bymuseum installers. Schoenstadt and McBride have created their exchange as a variation of the 1969 project, with each phoning the other with instructions for a work. At SMMoA, Schoenstadt will create McBride s work according to the instructions photographs of all the gas stations along California Highway 1 between Los Angeles International Airport and Point Dume. McBride was asked by Schoenstadt to choose a discarded drawing from her studio and load it into a fax machine, then ask the Gallery to fax the floor plans of their proposed exhibition space. The combination of interposed drawing and architectural plan provided the final composition. This work was shown at New York gallery Alexander and Bonin from May 9 through June 13, 2009. The project takes up the telephone game idea of transforming visual information into language and back to visual, and also embraces the conceptual promise that anyone can make an art work based on the idea of the systemic production of art according to instruction. In the current era of instant messaging and social media, Schoenstadt and McBride use the telephone as a means of communication to initiate their conceptual works that explore the ramifications of what happens when an artist gives up control over his or her project. With its focus on collaboration and exploration of the nature of authorship, this exhibition is the perfect complement to the Allen Ruppersberg exhibition, which runs concurrently at SMMoA. Schoenstadt received a BFA from Pitzer College, California, and has participated in many solo and two-person exhibitions and projects in Europe and the U.S., including the Museum of Contemporary Art, Chicago, and the Institute of Contemporary Art, London. Her body of work centers around the exploration of drawing, and frequently includes series in which the final product is arrived at by chance or by instructions provided either via the audience or other artists; her works are often site-specific. Schoenstadt lives and works in Venice, California. McBride received a BA from Bard College, New York, and an MFA from California Institute of the Arts, Valencia. She is the recipient of many awards and residencies, including the prestigious Guggenheim Memorial Foundation Fellowship (2002). Her projects vary greatly from unorthodox books to large-scale sculptures. Her work has been shown at the SculptureCenter, New York, and she has had several solo museum exhibitions throughout Europe. McBride lives and works in Düsseldorf, Germany where she is a professor at the Kunstakademie Düsseldorf. The catalog accompanying the project is a recording of each artist s instructions on a vinyl record, just as it was for the original 1969 Art By Telephone. The record will be playing in the Project Room as part of the installation; a limited edition of signed copies will be available for sale. Tell Me Something Good: A Collaboration between Kim Schoenstadt and Rita McBride is organized by the Santa Monica Museum of Art and curator Lisa Melandri, Deputy Director for Exhibitions and Programs."^^ ; + + "Tell Me Something Good: A Collaboration between Kim Schoenstadt and Rita McBride"^^ ; + + . + + + + . + "Kerry James Marshall"^^ ; . - - - . - - - - . - - + - . + ; + + . - + - ; + ; - "This collaborative video installation by media artist Ann Bray and visual artist and performer Molly Cleator presented the artists engaged in a dialogue about the effects of TV and media. Their taped conversation was played on two monitors mounted at head level on two motorized wheelchairs that moved erratically around the gallery, which was filled with more than a hundred different types of chairs arranged in various viewing configurations."^^ ; + "In this collaborative installation, which focused on their experience of growing up in the United States as individuals of non-Western origin, Page and Bravo explored themes of cultural identity, sexual stereotyping, and behavioral imprinting. Through video, paintings, and photography, they contrasted the affirmation of one s own persona with the dichotomy between the West s encoding of behavior and cultural diversity in contemporary society."^^ ; - "Anne Bray and Molly Cleator: Easy Chair, Electric Chair Artist Project Series"^^ ; + "Ann Page and Leonard Bravo: Neither Here Nor There"^^ ; . - - - "Eleanor Antin"^^ ; - - . - - + - "In her first West Coast Museum exhibition, artist Nicole Cherubini presents new sculptures that reference the history of clay as a medium and feature forms made of terracotta, earthenware, and porcelain and surfaces arrived at through various hand-built, thrown and molded processes. New forms are accompanied and supported by materials such as wood, MDF, 2x3s, digital photographs, metal, glaze, enamel, and drawing materials. Cherubini s work brings antiquated notions of ceramics into a contemporary sculptural discourse as they invoke ideas rooted in conceptual art from the 1970s. The new box pieces presented at SMMoA come from a continued interest by Cherubini in movement, process, containment, and structure. These sculptures reference the cardboard pieces of Robert Rauschenberg, the material use of Robert Morris, ideas about physical space addressed by Donald Judd, and Eva Hesse s ability to challenge the 2-D and 3-D. Cherubini s large container is based on a Greek storage vessel from 500BC in the collection of the Metropolitan Museum, New York. Made of clay in multiple sections, it has no base and is filled with holes in defiance of its function. Barely glazed, most of its surface is raw, exposed, dry clay. Attached to this sculpture is a framed manipulated digital c-print of an 18th Century watercolor of The Portland Vase by T. Hosner Shepard. This vase, in the collection of The British Museum, London, was famously broken in February 1845 by an Irish university drop-out, William Mulcahy, who destroyed the vitrine and smashed the vase with a stone sculpture displayed nearby. Cherubini has drawn over this image with paint, graphite, and ink, depicting the shards before the piece was reconstructed. Cherubini uses the cardboard box in which manufactured clay comes as a mold for an object placed on a tall pedestal base. The collapsed, flaccid box is turned on its flattened side, adorned with pools and drips of glaze. Marks created by the mold and finger fully illustrate the process of its making, exposing both inside and out to the viewer. A large plywood pilaster, full of knots and cracks, displays brightly glazed hanging terracotta boxes . These are glazed with intense semi-precious colors of lapis, turquoise, malachite, cobalt, and rose quartz. Their earthy and organic textures vary from high gloss to matte, and are texturized with shimmery sediment and crystals mixing in the firing process. A larger 5-sided clay box stands on its side nearby, made from white clay with a matte white glaze. Cherubini was born in Boston in 1970. She received her BFA in Ceramics from the Rhode Island School of Design and her MFA in Visual Arts from New York University, and later attended the Skowhegan School of Painting and Sculpture in Maine. She is a recipient of an NEA Travel Grant, a New England Foundation for the Arts Fellowship in Sculpture, the Louis Comfort Tiffany Foundation Award, and most recently an Art Matters Grant for travel in Mexico. Her work has been exhibited in group and solo exhibitions both internationally and in the United States; including the Institute of Contemporary Art, Philadelphia; the Walker Art Center, Minneapolis; Santa Barbara Contemporary Arts Forum, Santa Barbara, CA; Sculpture Center, New York; La Panadería, Mexico City; PS1/MoMA, New York; The Rose Art Museum, Boston; Samson Projects, Boston; and Galerie Michael Janssen, Berlin. Last fall, she had concurrent exhibitions at Smith Stewart Gallery and D Amelio Terras in New York. Cherubini lives and works in Brooklyn, New York. Nicole Cherubini is organized by the Santa Monica Museum of Art and curator Lisa Melandri, Deputy Director for Exhibitions and Programs."^^ ; + "Los Angeles-based artist Eduardo Sarabia intertwined fact, fiction, family history, and the search for Pancho Villa s gold in his installation in the museum s Project Room. Sarabia s potent installation examined the many guises of Mexico s political identity, from the romantic to the corrupt, and explored the artist s own Mexican roots and his relationship to East Los Angeles, where he grew up. Ciara Ennis guest-curated the exhibition."^^ ; - "Nicole Cherubini"^^ ; + "Eduardo Sarabia"^^ ; . - - - ; - - "This exhibition consisted of a dozen recent pastel works on paper by Los Angeles artist Lavi Daniel. Exhibited for the first time, Daniel s drawings are characterized by forms that vacillate between biomorphism and abstraction; the forms suggest organic processes as they engage issues of pictorial representation."^^ ; - - "Lavi Daniel: New Works on Paper Community Focus Gallery"^^ ; + + + "Eleanor Antin"^^ ; - . + . - + - ; + ; - "This installation of drawings and videos documented Andrea Bowers s inquiry into the nature of crowds and an individual s role and identity within them. The face in the crowd, the individual interacting within society, the process of socialization these are some of the ideas explored in Bowers s multimedia installations. Bowers s videos of people at spectator events gave fans in the crowd the opportunity to become performers in their own right. The presentation of Spectacular Appearances was part of the citywide festival of independent video and new media, All Over the Map."^^ ; + "This exhibition of contemporary art by Chicano, Irish, and Mexican artists examined the common ground shared by Mexico and Ireland, countries with notable differences as well as profound commonalities. Both countries have developed economically in the shadow of their more powerful neighbors (the U.S. and England); both are characterized by widespread migration; both share a strong tradition of Catholicism as well as deep roots in their ancient mythologies. Distant Relations revealed a rich, artistic dialogue about exile, invisibility, the loss of language and culture, a confrontation with the past, and the emergence of new hybrid cultures. This multimedia exhibition included the work of twelve internationally recognized artists: Willie Doherty, David Fox, Javier de la Garza, Silvia Gruner, Frances Hegarty, John Kindness, Alice Maher, Daniel J. Martinez, Amalia Mesa-Bains, Philip Napier, Rubén Ortiz Torres, and John Valadez. Curated by independent curator Trisha Ziff, Distant Relations was organized by the Ikon Gallery, Birmingham, England, and the Santa Monica Museum of Art. The accompanying catalog was published by Smart Art Press, Santa Monica."^^ ; - "Andrea Bowers: Spectacular Appearances Artist Project Series"^^ ; + "Distant Relations/Cercanías Distantes/Clann I Gcíin: A Dialogue Among Chicano, Irish, and Mexican Artists"^^ ; . @@ -2726,18 +2880,6 @@ . - - - . - -