The Cosmos is all that is or ever was or ever will be. Our feeblest contemplations of the Cosmos stir us — there is a tingling in the spine, a catch in the voice, a faint sensation of a distant memory, as if we were falling from a great height. We know we are approaching the greatest of mysteries. –Carl Sagan
The Cohen Gallery is pleased to announce Falling from Great Heights, a group exhibition featuring photographic works by Siri Kaur, John Knuth, and Heather Rasmussen. While each of the three Los Angeles-based artists owns a distinct style, all have a fascination with photography as a vehicle to abstract locations and space. Each artist’s work transcends the materials used to dislocate the viewer by means of manipulation, scale, and movement. All of them engage with the sublime, the beauty and fear of the spectacle of nature and the unknown. This poetic leitmotif draws their work together, however each artist manifests this in different ways.
Siri Kaur will show images from her Half of the Whole series—a photographic exploration of deep space through a telescope lens. She manipulates the color and depth of the celestial forms with chemicals in the darkroom to create new images that look like “real” photographs of distant galaxies. With this series the artist plays with photography’s uncanny ability to dislocate space and time. Kaur received her MFA from the California Institute of the Arts and is currently an Assistant Professor at Otis College of Art and Design. Her work will be included in the forthcoming 2013 California Triennial of Photography.
John Knuth’s Polaroid images from High Harbor and Faded Siren, are based upon a simple process of photographing survival materials that echo patterns in the natural world. The result yields little jewels of one-of-a-kind Polaroid prints. High Harbor includes abstract images of crumpled, light-reflecting Mylar blankets tossed into the night sky and upon being photographed result in abstract images of what could be glimmering mountains and valleys. Faded Siren exposes billowing clouds of orange smoke from emergency flares photographed with flash that cause fractal patterns in the black night sky. Knuth’s corresponding video displays his practice of working with the smoke flares in the desert landscape. Knuth was the director of Circus Gallery from 2007 to 2010. He has shown his work in Sweden, Germany, Denmark, Iceland and Mexico and at the Los Angeles County Museum of Art, the Minneapolis Institute of Art and in galleries in Los Angeles, Chicago and San Francisco. He received an MFA from USC.
DestructConstruct by Heather Rasmussen is a series inspired by the artist’s ongoing investigation into shipping container disasters as systems of dysfunction. Colorful, handmade paper sculptures are stacked, scattered or crumpled into formations that replicate found images on the Internet of actual cargo accidents. These abstracted incidents remove the viewer from a dangerous scene and into an exploration of shape, color and pattern with deceivingly fragile materials, representing the delicate foundation of man’s trophies to globalization. Heather received her MFA from the California Institute of the Arts and has exhibited at the Art Institute of Chicago, Mixed Greens in NYC and numerous galleries across the country.
Gallery hours are Tuesday through Saturday from 11 a.m. – 6 p.m. and by appointment. For additional information, contact Alexis Jonnson at 323.937.5525, or by email at: info@stephencohengallery.
7354 Beverly Boulevard, Los Angeles, CA 90036
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CLOSING RECEPTION & READING! MONDAY, MARCH 4, 8–10 PM
3001 & Station Gallery, USC Roski School of Fine Arts (Graduate Building IFT)Benjamin Weissman and Jessica Minckley are Los Angeles-based artist-writers united by pedagogy and their common interest in constructing meaning through text & image. (Weissman is much more illustrious, of course, as he is a gentleman of advanced age and seasoning.) Weissman and Minckley present the two-person exhibition Heartbreak Vitrine; Pornographic Coffin at Station Gallery inside the Roski School of Fine Arts building at USC.
Benjamin Weissman presents drawings that comprise half of the exhibition- Pornographic Coffin. This smattering of drawings exercises the ultimate treasured pastime- watching porn (to the point of collapse! in a rhombus-shaped box!). Weissman’s idiosyncratic scratchings are reminiscent of political caricatures, teen notebook doodles and bathroom stall profanity. Rachel Kushner has proclaimed “in the realm of art he is a threat: waging war, in high prose style, against good taste.” Weissman has written for dozens of publications and has exhibited his work around the globe.
Heartbreak Vitrine is the other half the exhibition and is situated in a skinny, rectangular glass box. Here Jessica Minckley showcases recent sculptural work of actual books as painting substrates. The text which adorns these miniature “canvases” is topical- the crush of unrequited love and the illusion of a reasonable substitute- sex. Minckley’s work, pseudo-autobiographical in nature, capitalizes on her current clichéd moment of disappointment in her present romantic life, through what one might call the fallacy of connection and understanding between two human subjects through language. Minckley has exhibited her work mostly in Los Angeles, is Google-able, teaches figure drawing, and hopes to publish more of her writing in the near future.
ARTRA Curatorial Presents
Saturday, January 26th, 2013
A one-night-only evening of appreciation for painter’s painters – to facilitate networking and friendships, to introduce painting lovers to new works and gallerists to new talent, like a giant ‘studio visit’
Lisa Adams | Nicholas Aguayo | Daniel Aksten | Dawn Arrowsmith | Sarah Awad | Hilary Baker | Quinton Bemiller | Tim Biskup | James Boulton | Gul Cagin | Dan Callis | Ryan Callis | Daniela Campins | Carolyn Castaño | Brian Cooper | Sydney Croskery | Nathan Danilowicz | Walpa D’Mark | Daniel Dove | Martin Durazo | Mark Dutcher | Jay Erker | Amir Fallah | Roni Feldman | Jon Flack | Andrew Foster | Sherie Franssen | Helen Garber | Yvette Gellis | Rema Ghuloum | Rives Granade | Kio Griffith | Mary Addison Hackett | Steve Hampton | Carlson Hatton | Roger Herman | Evan Higgins | Cole James | Emily Joyce | Virginia Katz | Thomas Whittaker Kidd | Andy Kolar | Alexander Kroll Christopher Kuhn | David Leapman | Jay Lizo | Joe Lloyd | Heather Gwen Martin | Megan Madzoeff | Claudia Morales McCain | Sean McGaughie | Annelie McKenzie | Faris McReynolds | Jacob Melchi | Christopher Mercier | Adam Miller | John Mills | Esmeralda Montes | Aaron Noble | Laura Owens | Claudia Parducci | Stephen Parise | Christopher Pate | Marcus Perez | Josh Peters | Ian Pines | Mary Anna Pomonis | Allison Cortson Powers | Max Presneill | Jason Ramos | Alison Rash | Roland Reiss | Bryan Ricci | Nano Rubio | Sunny Samuel | Hubert Schmalix | Eric Schott | Christina Shurts | Aaron Smith | Brad Spence | Tyler Stallings | Ami Tallman | Marie Thibeault | Britton Tolliver | Comora Tolliver | Chris Trueman | Devon Tsuno | Grant Vetter | Tyler Vlahovich Jayson Ward | Trine Wejp-Olsen | Andrew West | Ben White | Alexandra Wiesenfeld | Eve Wood | Joel Woodard | Etienne Zack | HK Zamani
“Alternatives to the Alternatives: 10 places to see art that change our idea of what an art space can be” by Carol Cheh
L.A. Weekly, November 23–29, 2012, pages 45–46
In May, L.A. Weekly told you about 25 alternative art spaces that are at the vanguard of Los Angeles’ vibrant scene. These are galleries located in funky storefront spaces, artists’ studios or even their houses — homegrown operations that are a far cry from the pristine experiences of museums and established art galleries.
That was only one chapter of the endless adventure that is the alternative arts scene in this city. Here we present 10 alternatives to the alternatives — exhibition venues that skip the typical “white box” format altogether in favor of odd, tangential spaces, where you’d never expect to see art: a traveling shoebox, a voicemail account, a Facebook identity, a gallery director’s desk, someone’s vanity closet and the entire lengths of L.A.’s iconic boulevards.
Unlike traditional spaces, which strive for a flat, uniform neutrality that allows the art to bloom, the spaces on this list are so specific in their dimensions that they inevitably shape the installation — and sometimes even the nature — of the art that is exhibited.
Light & Wire Gallery: Art on a website
Internet-only art galleries are not new, but Light & Wire, started in 2008 by curator Gladys-Katherina Hernando, is probably the premier gallery of its kind, with its L.A. focus. The 30-plus online exhibitions it has hosted are archived on its website, and combing through it yields some gems by well-known local artists.
Analia Saban, who has received a good deal of positive attention for her highly textured paintings, chose to show a collection of short video works from her undergraduate days. She created absorbing, formal studies that look closely at pulsating lights, shifting colors or the view out a car door; in them, the young artist appears to be sorting through her own perceptions of the physical world.
Tamara Sussman, who has done a lot of work using narrative text, put her exhibition “From Another Los Angeles” into blog form. Through staged photographs and diarylike stories, she tracks the narrator’s adventures in a postapocalyptic vision of the Bonaventure Hotel.
Hernando took a break from programming while she got her M.A. in Art and Curatorial Practices in the Public Sphere from USC and spent a few months in Berlin. She’s returning to the project with renewed vigor, working on a revamped website and planning shows with artists outside of Los Angeles.