Sunday, October 23, 2011
Friday, October 14, 2011
ShoeboxLA in the EastsiderLA
Sculpture by Kim Tucker
Art show rolls into Eagle Rock bowling alley
Pop-up art gallery Shoebox L.A. will present the sculpture of Kim Tucker this Saturday, Oct. 15 for a three-hour long exhibit at All Star Lanes bowling alley in Eagle Rock. Not used to going to a bowling alley to view art? Shoebox L.A. seeks to challenge the traditional expectations of what a gallery is. Founders Paul W. Evans and Sophia Allison say they are drawn to spaces that “are not spaces one would initially connect with art.” and have room for their portable gallery, a box with moveable walls that is barely big enough (24”x18”x8”) to hold a few pairs of bowling shoes.
“Both Shoebox and Kim love All Star Lanes,” said Evans, referring to the Eagle Rock bowling center that has hosted numerous bands. “We also try to focus on places that people may not know of or have maybe gotten off the radar. And then we hope business owners will allow us three hours of viewing time.”
What will be tucked into the Shoebox gallery on Saturday? Here are the details about the Kim Tucker: Unquiet Slumber show:
Shoebox L.A. last show was at the Little Tokyo Galleria. “It was great fun and the artist did work that was inspired by mall architecture,” Evans said.Tucker’s Unquiet Slumber is a sculptural expedition into the wild and woolly world of the unconscious. Hidden desires, complications, filtered memories and primal impulses mix together in the bold world of the inner mind. Within the exhibition, a central female figure represents the human experience as all and nothing. She is the imperfect Eden where impulses prevail and thoughts run freely. The surrounding figures are manifestations of her unfettered mind, primal creatures, pitiful ghosts and human dummies. Unquiet Slumber is a challenge to the rules and boundaries of the conscious world; it is simply a place where the mind can freely experience impulse and wild abandon.
Monday, August 22, 2011
A New Gallery in Los Angeles...
Hoping to see you all at ShoeboxLA, a new gallery project I started with fellow artist Sophia Allison. We launch on Sept. 17 with Amy Maloof at the Little Tokyo Galleria, my favorite mall in Los Angeles. We'll be on the second floor from 4-7pm. There's free parking with validation, a karaoke place, video arcade, sushi, a Hello Kitty store and the best darn Japanese supermarket ever!
ShoeboxLA presents Amy Maloof's Grave Architecture
Saturday, Sept. 17 from 4-7pm
Little Tokyo Galleria
333 S. Alameda St. (at 3rd)
Los Angeles, CA 90013
We'll be doing lots of monthly, one day events that feature really great artists doing site-specific stuff especially for us. Nice. It's our labor of love and we really hope to see you there. Visit us on Facebook, check out our custom made videos on the YouTube or simply visit our blog at http://www.shoeboxla.blogspot.com/ to keep yourself up to date as to our whereabouts.
ShoeboxLA presents Amy Maloof's Grave Architecture
Saturday, Sept. 17 from 4-7pm
Little Tokyo Galleria
333 S. Alameda St. (at 3rd)
Los Angeles, CA 90013
We'll be doing lots of monthly, one day events that feature really great artists doing site-specific stuff especially for us. Nice. It's our labor of love and we really hope to see you there. Visit us on Facebook, check out our custom made videos on the YouTube or simply visit our blog at http://www.shoeboxla.blogspot.com/ to keep yourself up to date as to our whereabouts.
Sunday, July 3, 2011
Good Things Still Come in the Mail...
This came in the mail from artist Laura Sharp Wilson. German Siamese twins...
Wednesday, June 29, 2011
Friday, June 10, 2011
Thursday, June 2, 2011
Best Mural Ever at Hollywood & Normandie!
Update (June 21): The jerks painted over my favorite mural...It's gone...What's the point in living now?
A few years back the LA Weekly ran a contest and this mural was voted among the worst in LA...I'm not seeing it, but what do I know? What I do know is this mural (and new wave architectural gem) is located up my street in beautiful Little Armenia/Thai Town/East Hollywood/Los Feliz adjacent/Shitsville. I bought toilet paper there once.
A few years back the LA Weekly ran a contest and this mural was voted among the worst in LA...I'm not seeing it, but what do I know? What I do know is this mural (and new wave architectural gem) is located up my street in beautiful Little Armenia/Thai Town/East Hollywood/Los Feliz adjacent/Shitsville. I bought toilet paper there once.
Tuesday, May 31, 2011
New Jersey is for Lovers: Robert McCormack
Anyone know where Teaneck, NJ is? I have no idea, but I'm pretty sure it's sandwiched between Cheesequake and Nutley. Robert McCormack is somewhere in New Jersey but he should be in Hollywood, Southern California. He'd hate it here, but I'd have someone to have lunch with and make fun of the lame-ass, idiot actorers who inhabit this shittin' town. We'd go thrift shopping and read porn mags at Circus of Books. He'd take Scientology I.Q. tests while I look for has-been stars shopping for fashions at Ross Dress-For-Less.
Robert McCormack makes art that reminds me of the men my father used to drink with. They lived on our block and were always drunk. Their sons were mean dirt-bags and their daughters were lovely Breck girls who sat around putting mascara and rouge on while listening to the Eagles. I remember one summer our neighbor's house burned down and one of the daughters cried 'cause all her makeup was destroyed in the fire. I don't drink now but I can't help but feel tipsy when I look at Robert's stuff. He makes a lot of work and it's all different and all good. I like artists who don't care about every single thing looking all the same but who know what they're doing and are not afraid to reach out and bad touch you.
Robert has a art show at Blast Gallery in Teaneck. Figure out how to get there. I'm guessing you'd have to get on the New Jersey Transit and look for all the dirty birds getting off at Teaneck to attend his opening on June 4. Buy something, dear, and send it to your grandma:
Nothing's Natural
June 4–July 5, 2011
Opening reception June 4, 6-9 pm
Friday, May 13, 2011
All About Small: Kim Tucker
I love Kim Tucker's work. She's prolific and a nice person and loves Dolly Parton and probably should be art-world famous by now and her studio is just up the street from me. I always imagine I'm going to visit her with cash in my pocket and I'll come home with a wicked little Kim Tucker. She always let's me over and I never have cash and I'm always knocked out by her heartbreaking sculptures. I love heartbreaking art so when I see it I get all funny. Kinda funny bad and funny good. Kim's work is totally funny good/funny bad. Funny good because they're fucking funny and funny bad because her outcast numskulls call out for hugs they're never gonna get.
When I was at her studio a couple of months back I spotted a little gem that almost made me cry. I've been thinking about it ever since. It's small and there's yellow . I don't even know the title.
Kim's having a show at L2Kontemporary in Chinatown May 28-June 25 called Loudmouth Ghosts and Reckless Sweethearts. There's a reception on Saturday May 28 from 7-10pm. Meet me there, ok? www.L2kontemporary.com
Thursday, May 5, 2011
Super Friend Blog #1: Craftivore
I love Craftivore. Not because it's my friend Misa Erder's blog...But...Wait...I do love it because it's Misa Erder's blog! I also love it because for about a week, 3 years ago, I thought I could knit. I bought needles, some yarn and called a friend to teach me. She graciously sat down for about an hour and did her best Annie Sullivan to my Helen Keller. Me and knitting lasted about...One hour. My brain could not grasp whatever it was I thought would be the easiest thing in the world.
Misa and I shared a studio in the Meatpacking District of New York Fuckin' City a few years back when that area stunk of many things, differently than what it stinks of now. We sure had fun and Misa made some crazy sculptures she would cut, sew, hang and scatter around her little cubicle space.
Craftivore is the perfect blog for the closet knitter. I'll never knit and I'm ok with that. When I want to see what Misa is doing, I visit her blog and it makes me happy to know she's making great creations and seriously loving it. She sure is talented. I also love how she hangs her creations on bushes to take pictures. I wish I lived in a place that required fingerless winter gloves or Joseph Albers scarves.
www.craftivore.blogspot.com
Tuesday, April 19, 2011
Cries & Whispers at Sam Lee Gallery - April 23
Sam Lee and I curated this show which opens Saturday, April 23. It's been a great pleasure to work with Sam and to bring artists I've been thinking about to his space, in a true collaborative venture. It is also a great honor to have such talented artists be part of the show:
Cries & Whispers
April 23 – June 4, 2011
Reception for the Artists: Saturday, April 23, 6 – 9 pm
990 N. Hill St.
Los Angeles, CA 90012
(323) 227-0275
www.samleegallery.com
Los Angeles, CA - Sam Lee Gallery and co-curator Paul W. Evans are pleased to present Cries & Whispers, a group exhibition of 15 diverse artists whose practice centers on abstraction. Included in the exhibition are Jakob Christmas, William Conger, Jeff Gambill, Glenn Goldberg, Joanne Greenbaum, Hadley Holliday, Andy Kolar, Andrew Masullo, Douglas Melini, Robin Mitchell, John Pearson, Carl Smith, Andrew Spence, Misato Suzuki, and Laura Sharp Wilson. The gallery will host a reception for the artists on Saturday, April 23, from 6 to 9 pm.
What makes painting a cry and what makes painting a whisper? Or could a painting be both? Cries and Whispers—not a survey show by any means—probes these questions and looks at abstraction from a multi-faceted perspective, exploring the different ways in which visual devices are employed. The utilization of line, color, content and form is paramount. Each artist brings his or her own signature method to this genre through various strategies and ideas. Such notions intersect throughout the show, creating an engaging dialogue among the pieces. These works honor the solitary journey of art-making and the longing for communication.
Jakob Christmas distills imagery to its essence by making straightforward paintings that strip away the superfluous to focus on the mystery of meaning.
William Conger has devoted himself to the exploration of form and matter with the subconscious, utilizing the techniques of pure abstraction to convey psychological metaphors.
Jeff Gambill’s Zen-like paintings stem from the intangible and the peripheral, gently conveying the transience of such moments as a fading memory or a reflection in a pond.
Glenn Goldberg’s pointillist, floral shapes dance in a Morse-like code of brightly-colored voltage on the picture plane.
Joanne Greenbaum’s wild, witty and wicked paintings celebrate the self at its idiosyncratic best, unabashedly pushing the limits of painting with her signature style of frenetic lines and psychedelic colors.
Hadley Holliday uses graceful gestures and sophisticated palette to create light washes on canvas that are at once quiet and grand.
Andy Kolar’s intimate, painted cardboard floor sculptures elevate banal materials and lure the viewer with sensual colors and biomorphic, Play-Doh-like shapes.
Andrew Masullo’s humorous works wink at the viewer but are unapologetically steeped in painting’s rich history, wildly combining brash color with the artist’s library of iconic forms.
Douglas Melini’s hard edge paintings are graphic, deliberate and alluring where colors and shapes are used for psychologically dizzying effect.
Robin Mitchell’s intricate gouache paintings on paper emanate great energy and light; they explode with radiant forms that are abstract yet referential, metaphorically portraying the artist as the illuminated self.
John Pearson’s seductive, painted sculptures/sculptural paintings convey a serene beauty while touching on the fragility of existence through his careful employment of color and line.
Carl Smith combines intricate lines with soft colors to create spiraling diagrams that make the unknown immanent and map the quest for spirtual spaces.
Andrew Spence’s sly, hard edge paintings question traditional perceptions of perspective by challenging 2 dimensional surfaces with 3 dimensional illusions.
Misato Suzuki’s acrylic paintings depict a world that oscillates between the representational and the abstract, in which repetition of lines and shapes exude an appearance of complexity and expansion.
Laura Sharp Wilson crafts complex, apocalyptic visions by interweaving cartoon, calligraphy and cartography into an explosive mixture of personal landscapes and dark narratives.
www.samleegallery.com
Cries & Whispers
April 23 – June 4, 2011
Reception for the Artists: Saturday, April 23, 6 – 9 pm
990 N. Hill St.
Los Angeles, CA 90012
(323) 227-0275
www.samleegallery.com
Los Angeles, CA - Sam Lee Gallery and co-curator Paul W. Evans are pleased to present Cries & Whispers, a group exhibition of 15 diverse artists whose practice centers on abstraction. Included in the exhibition are Jakob Christmas, William Conger, Jeff Gambill, Glenn Goldberg, Joanne Greenbaum, Hadley Holliday, Andy Kolar, Andrew Masullo, Douglas Melini, Robin Mitchell, John Pearson, Carl Smith, Andrew Spence, Misato Suzuki, and Laura Sharp Wilson. The gallery will host a reception for the artists on Saturday, April 23, from 6 to 9 pm.
What makes painting a cry and what makes painting a whisper? Or could a painting be both? Cries and Whispers—not a survey show by any means—probes these questions and looks at abstraction from a multi-faceted perspective, exploring the different ways in which visual devices are employed. The utilization of line, color, content and form is paramount. Each artist brings his or her own signature method to this genre through various strategies and ideas. Such notions intersect throughout the show, creating an engaging dialogue among the pieces. These works honor the solitary journey of art-making and the longing for communication.
Jakob Christmas distills imagery to its essence by making straightforward paintings that strip away the superfluous to focus on the mystery of meaning.
William Conger has devoted himself to the exploration of form and matter with the subconscious, utilizing the techniques of pure abstraction to convey psychological metaphors.
Jeff Gambill’s Zen-like paintings stem from the intangible and the peripheral, gently conveying the transience of such moments as a fading memory or a reflection in a pond.
Glenn Goldberg’s pointillist, floral shapes dance in a Morse-like code of brightly-colored voltage on the picture plane.
Joanne Greenbaum’s wild, witty and wicked paintings celebrate the self at its idiosyncratic best, unabashedly pushing the limits of painting with her signature style of frenetic lines and psychedelic colors.
Hadley Holliday uses graceful gestures and sophisticated palette to create light washes on canvas that are at once quiet and grand.
Andy Kolar’s intimate, painted cardboard floor sculptures elevate banal materials and lure the viewer with sensual colors and biomorphic, Play-Doh-like shapes.
Andrew Masullo’s humorous works wink at the viewer but are unapologetically steeped in painting’s rich history, wildly combining brash color with the artist’s library of iconic forms.
Douglas Melini’s hard edge paintings are graphic, deliberate and alluring where colors and shapes are used for psychologically dizzying effect.
Robin Mitchell’s intricate gouache paintings on paper emanate great energy and light; they explode with radiant forms that are abstract yet referential, metaphorically portraying the artist as the illuminated self.
John Pearson’s seductive, painted sculptures/sculptural paintings convey a serene beauty while touching on the fragility of existence through his careful employment of color and line.
Carl Smith combines intricate lines with soft colors to create spiraling diagrams that make the unknown immanent and map the quest for spirtual spaces.
Andrew Spence’s sly, hard edge paintings question traditional perceptions of perspective by challenging 2 dimensional surfaces with 3 dimensional illusions.
Misato Suzuki’s acrylic paintings depict a world that oscillates between the representational and the abstract, in which repetition of lines and shapes exude an appearance of complexity and expansion.
Laura Sharp Wilson crafts complex, apocalyptic visions by interweaving cartoon, calligraphy and cartography into an explosive mixture of personal landscapes and dark narratives.
www.samleegallery.com
Sunday, April 3, 2011
Karen Frimkess Wolff and Me at the Institute of Cultural Inquiry, April 16
Karen Frimkess Wolff invited me to participate in her vision for the ICI's series 100/10∆4 (100 days, 10 visions). We're both excited and hope to see you there.
A reception and curator’s talk will be held on Saturday, April 16, 2011 from 4 to 6 p.m.
For this fourth iteration of the Institute of Cultural Inquiry’s ambitious project 100/10 (100 days/10 visions), curator-artist Karen Frimkess Wolff and artist Paul W. Evans invite us to “Consider A Path (passing fragments, as much as human understanding may grasp).” Enriched by the ICI’s extensive collection of books and ephemera for the blind and inflected by Frimkess Wolff’s experience teaching art and art history at the Los Angeles Braille Institute, the pair presents a protean, phantasmic landscape of sight, touch, and sound that traverses personal intention and public participations, knowing and acting, thinking and willing. How do we apprehend and convey ourselves through worlds, real and imagined?
From a single sheet of iron-on eyes once destined for foster-child dolls, Evans has multiplied the eye images, lifting them onto structures that evoke seeing and seers, scenarios of watchers and watching. Multiple calls to myriad visions—a dense tangle of potential sight lines—confound the classic white gallery space’s imperative of legible display. A laboratory space probes visitors’ sense of touch against the resonant backdrop of Frimkess Wolff’s interactive bell lines.
Beginning January 31, 2011 and running for 100 consecutive business days, the ICI site and its archives will undergo a multitude of interpretations. ICI has invited ten researchers—artists, writers, and visual thinkers—to set into play ideas that blend contemporary visual practices with aspects of the ICI Earth Cabinet, Ephemera Kabinett, and a 2,500+ volume library along with the nooks and crannies of the eclectic, historically layered ICI space. With just two weeks to conceive of their vision, curators will work in a designated laboratory modeled upon the transparent workspaces of 19th-century natural history museums. Each curator will conceptualize a new trajectory through ICI’s body, transforming the ICI display by the end of their residency.
Visits to the ICI space are by reservation (available on the website). A $5 fee is suggested but not required.
Karen Frimkess Wolff is a Los Angeles-born artist whose drawings, constructions, and sound installations have been exhibited extensively in California, throughout the United States and in Germany. A recipient of the Los Angeles Cultural Affairs Grant in 1991, she was also one of thirty Americans nominated for the 1976 Paris Bienniele. Recent shows include a solo show at Minnesota State University, Moorhead, Minnesota; a solo show at Happy, Los Feliz, California; current representation at District Art Gallery, Park City, Utah; a public installation in West Hollywood and at the American Jewish University (both collaborations with Dori Atlantis). She received her Bachelor’s in Painting and Drawing from University of California, Los Angeles, and her Master’s in Art History from California State University, Northridge.
Paul W. Evans [www.pweny.com] has exhibited widely throughout the United States and in England at such venues as Artists Space, New York, the Brooklyn Museum of Art, and Gasworks, London. Re-placing found images in specific painted environments, his work explores the tension between originality and reproduction, the infinitely reproducible photocopy and the singular act of painting. He received his Bachelor’s of Fine Arts from the School of Visual Arts in New York.
Since 1991, the Institute of Cultural Inquiry (ICI) has explored the role of visuality in imagining, perpetrating and perpetuating the intangible and ever-changing phenomena known as “culture.” The ICI sponsors displays, symposia, workshops, performances and provides numerous opportunities for both the artist fabricator and the curious spectator of visual culture. The non-profit organization also maintains an active publishing program, releasing the critically acclaimed Searching for Sebald: Photography After W. G. Sebald in 2007. 100/10 is the first project conceptualized within the 2011-12 ICI study theme of Phantom Worlds.
(310) 273-7181
info@culturalinquiry.org
www.culturalinquiry.org
A reception and curator’s talk will be held on Saturday, April 16, 2011 from 4 to 6 p.m.
For this fourth iteration of the Institute of Cultural Inquiry’s ambitious project 100/10 (100 days/10 visions), curator-artist Karen Frimkess Wolff and artist Paul W. Evans invite us to “Consider A Path (passing fragments, as much as human understanding may grasp).” Enriched by the ICI’s extensive collection of books and ephemera for the blind and inflected by Frimkess Wolff’s experience teaching art and art history at the Los Angeles Braille Institute, the pair presents a protean, phantasmic landscape of sight, touch, and sound that traverses personal intention and public participations, knowing and acting, thinking and willing. How do we apprehend and convey ourselves through worlds, real and imagined?
From a single sheet of iron-on eyes once destined for foster-child dolls, Evans has multiplied the eye images, lifting them onto structures that evoke seeing and seers, scenarios of watchers and watching. Multiple calls to myriad visions—a dense tangle of potential sight lines—confound the classic white gallery space’s imperative of legible display. A laboratory space probes visitors’ sense of touch against the resonant backdrop of Frimkess Wolff’s interactive bell lines.
Beginning January 31, 2011 and running for 100 consecutive business days, the ICI site and its archives will undergo a multitude of interpretations. ICI has invited ten researchers—artists, writers, and visual thinkers—to set into play ideas that blend contemporary visual practices with aspects of the ICI Earth Cabinet, Ephemera Kabinett, and a 2,500+ volume library along with the nooks and crannies of the eclectic, historically layered ICI space. With just two weeks to conceive of their vision, curators will work in a designated laboratory modeled upon the transparent workspaces of 19th-century natural history museums. Each curator will conceptualize a new trajectory through ICI’s body, transforming the ICI display by the end of their residency.
Visits to the ICI space are by reservation (available on the website). A $5 fee is suggested but not required.
Karen Frimkess Wolff is a Los Angeles-born artist whose drawings, constructions, and sound installations have been exhibited extensively in California, throughout the United States and in Germany. A recipient of the Los Angeles Cultural Affairs Grant in 1991, she was also one of thirty Americans nominated for the 1976 Paris Bienniele. Recent shows include a solo show at Minnesota State University, Moorhead, Minnesota; a solo show at Happy, Los Feliz, California; current representation at District Art Gallery, Park City, Utah; a public installation in West Hollywood and at the American Jewish University (both collaborations with Dori Atlantis). She received her Bachelor’s in Painting and Drawing from University of California, Los Angeles, and her Master’s in Art History from California State University, Northridge.
Paul W. Evans [www.pweny.com] has exhibited widely throughout the United States and in England at such venues as Artists Space, New York, the Brooklyn Museum of Art, and Gasworks, London. Re-placing found images in specific painted environments, his work explores the tension between originality and reproduction, the infinitely reproducible photocopy and the singular act of painting. He received his Bachelor’s of Fine Arts from the School of Visual Arts in New York.
Since 1991, the Institute of Cultural Inquiry (ICI) has explored the role of visuality in imagining, perpetrating and perpetuating the intangible and ever-changing phenomena known as “culture.” The ICI sponsors displays, symposia, workshops, performances and provides numerous opportunities for both the artist fabricator and the curious spectator of visual culture. The non-profit organization also maintains an active publishing program, releasing the critically acclaimed Searching for Sebald: Photography After W. G. Sebald in 2007. 100/10 is the first project conceptualized within the 2011-12 ICI study theme of Phantom Worlds.
(310) 273-7181
info@culturalinquiry.org
www.culturalinquiry.org
Thursday, March 31, 2011
Center for the Arts Eagle Rock, Benefit: April 17
Come and support CFAE and their great mission! I'll have this piece up for auction. Check out the Center's great space and landmark building in beautiful Eagle Rock and get your hands on some art:
www.centerartseaglerock.org
Tuesday, March 22, 2011
Tuesday, February 22, 2011
Misguided Shopper Alert: VLAD the Retailer
My favorite store for nothing and everything is Vlad the Retailer on Melrose, just west of Heliotrope (Wait! Vlad moved to Heliotrope, see below). I'm not saying you should drop by there after Scoops, but really, there needs to be more to do on Heliotrope than Scoops and here is your golden opportunity to break free from the shackles of Brown Bread and Mayor Tai Kim.
I could ramble on about the benefits of Vlad but just go there and see for yourself...Vlad, himself, is uncommonly smart. He'll promise you anything you ask for and you'll most likely never get it but this is the land of false promises and Vlad is one of those business owners who doesn't run away when you ask a stupid question. He has art too...Most of it sucks but some of it is really good. Ask him to show you the soon-to-be-has-been Click Mort. His stuff is so good it hurts.
I love you Vlad.
Vlad The Retailer
704 Heliotrope Dr.
Los Angeles, CA
90029
(323) 668-0177
Friday, February 11, 2011
Wednesday, February 2, 2011
Black is Beautiful: Results
I just received word from Sophia Allison the piece she made for me is done and ready. This is part of her Art for $25 Project that I gleefully submitted to. I'm happy to report the reaction and participation to the project has been overwhelming. (There's even talk of an exhibit documenting the process.) All I know is I'm really excited to get my hands on this small wonder.
Saturday, January 22, 2011
All About Small: Joshua Levine
Seriously small and seriously good limited edition, bronze figurines by Joshua Levine are now on-view at Koplin Del Rio Gallery in sunny Culver City. His mutant trophies have an almost ancient feel that contradicts their pint-sized stature. Some are prancing, cocky showoffs, others proudly stand firm while many simply suffer quietly. One hitchhiking freak almost steals the show. Get over to the west side and see which little guy gives you the time of day. When it happens, take it home and play nice. They make perfect Valentine's Day gifts. Through February 19!
Thursday, January 20, 2011
Thursday, January 13, 2011
All About Small: Sophia Allison
Just gave my 25 smackers to artist Sophia Allison's new project. Can't wait to see what I get. Sophia's a sculptor who explores, exploits and explodes "paper". Check her out, send her $25 and get some art:
sophiaallison.blogspot.com
sophiaallison.blogspot.com
Tuesday, January 11, 2011
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