Studio Visits for Thursday January 6th:
2:00 - 2:30
2:35 - 3:053:10 - 3:40
BREAK
4:10 - 4:40
4:45 - 5:15
Tuesday, 4 January 2011
Sunday, 2 January 2011
Jim Shaw
Sign-ups will be posted on Tuesday January 4th at 11:00am.
Studio Visits for Thursday January 6th:
2:00 - 2:302:35 - 3:053:10 - 3:40
BREAK
4:10 - 4:40
4:45 - 5:15
Lecture is at 7pm at Warner.
Monday, 6 December 2010
Mark Grotjahn
Sign-ups will be posted on Monday December 6th at 11:00am.
Studio Visits for Wednesday December 8th:
2:35 - 3:053:10 - 3:40
break
4:10 - 4:40
4:45 - 5:15
Lecture is at 7pm at Warner.
While at first glance, Mark Grotjahn's oeuvre appears to be bound to purely aesthetic in modernist discourse, references to nature and movement are plentiful. His butterfly motif, one of several recurring connections to the natural world along with flowers and water, has yielded extensive possibilities in both painting and drawing. His ongoing Butterfly series focuses on perspectival investigations, such as dual and multiple vanishing points, techniques used since the Renaissance to create the illusion of depth and volume on a two-dimensional surface. These iconic compositions of complex, skewed angles and radiant, tonal color allude to the multiple narratives coursing through the history of modernist painting, from the utopian vision of Russian Constructivism to the hallucinatory images of Op Art. The extreme elegance of Grotjahn's works is often tempered by visible scuffs and markings that attest to the contingencies of process in his otherwise highly controlled compositions.
Centering each work is a single stroke of color from which rays (or wings) emanate. The paintings are essentially monochromatic, but the luster of the painted surface vibrates and oscillates, offering comparison with Barnett Newman's "zip" paintings. Resembling abstract butterfly wings, the works also call to mind "the butterfly effect", introduced by a mathematician and meterologist in the 1960s, which maintains that the slightest movement of a butterfly's wings could eventually cause a tornado to appear – a ready amalogy, perhaps, to Grotjahn's quietly provocative experiments within the history of abstract art. Mark Grotjahn was born in 1968 in Pasadena, California. He received his MFA from the University of California, Berkeley, and his BFA from the University of Colorado, Boulder. Recent solo exhibitions include the Hammer Museum, Los Angeles (2005); the Whitney Museum of American Art, New York (2006); and Kunstmuseum Thun, Switzerland (2007). His work is in the collections of the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; the Museum of Contemporary Art, Los Angeles; the Los Angeles County Museum of Art; the Walker Art Center, Minneapolis; the Carnegie Museum of Art, Pittsburgh; and the Stedelijk Museum, Amsterdam. He lives and works in Los Angeles.
Monday, 15 November 2010
Saturday, 13 November 2010
Stanya Kahn
Sign-ups will be posted on Monday November 15th at 11:00am.
Studio Visits for Wednesday November 17th:
2:00 - 2:302:35 - 3:05
3:10 - 3:40
BREAK
4:10 - 4:40
4:45 - 5:15
Lecture is at 7pm at Warner.
Stanya Kahn As a videomaker, performer and writer, Kahn combines storytelling with visceral performances, blurring the lines between the fictional and the real to show how language is forged out of trauma. Her new body of work aims beyond the notion that humor alleviates bad feelings in bad times, proposing that bad times can reconfigure our language and the way we make meaning, thus giving rise to new forms of articulation. Paralleling the ways in which jokes compress and expand meaning, Kahn organizes her narratives along the lines of a psycho-emotional unpacking. Less concerned about linear time or plot arcs, she makes full use of the moving pictures' spectacle of sound, image, movement, and performance to keep us "being-in-the-world". Stanya Kahn and her work in collaboration with Harry Dodge, was included in the 2008 Whitney Biennial and has been featured recently in "Virtuoso Illusions" at MIT, Cambridge, MA, curated by Michael Rush; in "Slightly Unbalanced" at the Harnnett Museum, Richmond, Virginia; in "Reflections on the Electric Mirror: New Feminist Video" at the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum of Art; in "Code Share: 5 continents, 10 biennales, 20 artists", CAC Vilnius, Lithuania; in the "Videonale 12", Kunsthalle Bonn, Bonn; in "Unusual Behavior," Santa Barbara Museum of Contemporary Art, Santa Barbara, in "California Video," Getty Museum, Los Angeles; in "Laughing in a Foreign Language," The Hayward, London; in "Between Two Deaths", ZKM/Center for Art and Media, Karlsruhe, Germany; in "Eden's Edge", Hammer Museum, Los Angeles, CA; in "Shared Women", Los Angeles Contemporary Exhibitions, Los Angeles, CA; in "Defamation of Character", PS 1, Contemporary Art Center; at Elizabeth Dee Gallery, New York, NY and in "Marking Time", at the Getty Museum and Los Angeles Contemporary Exhibitions, among others. Her most recent body of work, "Its Cool, I'm Good" was featured at Susanne Vielmetter Los Angeles Projects, Los Angeles, CA.
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Monday, 11 October 2010
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