AMERICAN

JUNE 2010

CONTEMPORARY ART
 SUZANNA FIELDS

W A L K E R C O N T E M P O R A R Y
450 harrison avenue boston ma 0 2 11 8 6 1 7 . 6 9 5 . 0 2 11 w w w. w a l k e r c o n t e m p o r a r y. c o m
MARTN REYNA
NEW PAINTINGS MAY 28 - JUNE 28

THE HOGAR COLLECTION

362 GRAND STREET WILLIAMSBURG BROOKLYN NY 11211
WWW.HOGARCOLLECTION.COM TEL. 718.388.5022
 Christian Faur
The Land Surveyors
June 17 - July 17, 2010

.....The Land Surveyors.... 20,000 hand cast encaustic crayons..... 30 x 60 inches..... 18 panels..... 2010.....

Kim Foster Gallery

529 West 20th Street N Y, NY 10011 212.229.0044
info@kimfostergallery.com www.kimfostergallery.com
CONTENTS
JUNE 2010
UPFRONT
12 Museums
AMERICAN
CONTEMPORARY
22
ART
14 Gallery News

EXHIBITIONS
19 New York
21 Washington
21 Chicago
22 Boston
21 48
22 Philadelphia
23 Denver
23 Santa Fe

44 Los Angeles
48 San Francisco

48 47 44 49
ARTISTS
36 Maria OMalley
40 Linda Vallejo
53 Christy Rogers
54 Angela Ellefson
12 20 13
56 Jaime Scholnick

A RT
A SPECIAL SECTION

CONTEMPORARY
ALIFORNIA
STARTING ON PAGE 29

PUBLISHER Richard Kalisher Advertising Inquires

EDITOR Donovan Stanley advertising@acamagazine.com

On the Cover Martn Reyna,
Untitled (2), 2009, watercol-
or on paper, 26 x 20 from his
exhibition at the Hogar Collection
in New York City. See page 20.
acamagazine.com
561.542.6028 / Richard Kalisher
DESIGN Eric Kalisher
CONTRIBUTING WRITERS
Gloria Huwiler, Mark Olival
Roberta Carasso 2010 R.K. Graphics. All Rights Reserved.
Content courtesy of represented institutions.
Piet van den Boog
I wanted each and every one of them, but choosing one meant losing all the rest
May 13 June 19, 2010

Gallery
520 West 24th Street New York New York 10011
tel 212 691 6899 fax 212 691 6877
email info@mikeweissgallery.com web www.mikeweissgallery.com

Piet van den Boog / Close to reborn, without fear of the unknown...without fear of further losses / 2010 /
Oil and acrylic on black steel / 59 x 86 1/2 inches (149.86 x 219.71 cm)
 Santa Monica Civic Auditorium
January 13 - 16, 2011

The longest running art fair in Los Angeles and

the largest photography art fair in the country,
is celebrating its 20th anniversary this January.

Sponsors and advertisers who wish to celebrate

or partner on this special event can email:
sponsors@photola.com

photola.com

Norman Kulkin, The Gallerist, 2008

EDWARD CELLA
ART + ARCHITECTURE
 MUSEUMS

(clockwise from bottom left) Lee Bon-

tecou: detail - Untitled, 1976, pencil
and colored pencil on prepared paper.
15x11. MoMA, the Judith Rothschild
Foundation Contemporary Drawings
Collection Gift; detail of Untitled,
1980-1998, welded steel, porce-
lain, wire mesh, canvas, and wire.
7x8x6. MoMA, gift of Philip Johnson
(by exchange) and the Nina & Gordon
Bunshaft Bequest Fund; Marilyn Mint-
er: Orange Crush, 2009, enamel on
metal, 108x180. Courtesy of John
and Amy Phelan; Gimme, 2008, c-
print, 70 x 97.25 AP. Courtesy of
the artist & Regen Projects, Los An-
geles. All work respective artists.

Lee Bontecou
MoMA New York
[through Aug 30]
Lee Bontecou first exhibited her steel-
and-canvas sculptures at New Yorks
prominent Leo Castelli Gallery in the
1960s. Although they bear little resem-
blance to the Minimalist and Pop art
dominant at the time, these wall-mount-
ed sculpturesmade in New York be-
tween 1959 and 1967elicited both
critical acclaim and curiosity. Writing
about one of them, a reviewer asked, Is
it apterodactyl? A spaceship? An outsize
artichoke or a monstrous whorl of gi-
ant flower corollas? Bontecous imagi-
native vision encompasses all of these
possibilities. For decades she has left
her work untitled, preferring not to re-
strict the ways in which it may be un-
derstood. Bontecous excitement about
the Space Age and her memories of the
Second World War are fundamental to
her visual language. While her art defies
easy classification, suggestions of infinite
expanse, anxiety, and threat are perva-
sive, expressed, for example, in the black
circular forms that have been insistent
motifs in her work. The cavernous black
voids of her steel-and-canvas sculptures
and the deep black circles of her drawings
conjure associations as varied as volcanic
craters, jet engines, eye sockets, and cos-
mic black holes, invoking what the artist
has described as the visual wonders and
horrors of the natural and man-made
worlds. In 1971 Bontecou left New York
City. Since then she has worked primarily
in rural Pennsylvania, where her engage-
ment with the natural world has become
more pronounced. The sculpture sus-
pended at the center of this installation
a slowly whirling galaxy of forms she
worked on for eighteen yearsrepresents
a fulfillment of her longstanding desire to
create art that celebrates no barriers, no
boundaries, all freedom in every sense.
Marilyn Minter
MOCA Cleveland
[through Aug 15]
One of the most adventurous and ac-
complished artists working today, Mari-
lyn Minter uses bold, luscious colors and
glossy surfaces to depict extreme close-
ups of women often fashion models to
examine beauty and decadence while ex-
posing the pleasures and dangers of glam-
our. Minters world, though steeped in
fashion and glitz, is one in which beauty
has gone awry. She says that her art is in-
vested in the moment when everything
goes wrong. . . when the model sweats.
This exhibition presents a focused selec-
tion of Minters work centered on one of
her most recent major paintings, Orange
Crush, 2009, a 9 x 15 foot triptych. Ac-
companying the painting are five related
large scale photographs and an acclaimed
video, Green Pink Caviar, 2009, originally
featured on a billboard in Times Square.

12 A|C|A June 2010

 EXHIBITIONS
MUSEUMS

Combining Art and Architecture

ART SHACKS INVADE LAGUNA ART MUSEUM

Art Shacks: (top left) Marnie Weber; (bottom left) Jason Maloney (right) Kenny Schart

post-apocalyptic films like District 9 or abandon social norms and "shack up in

childhood games like MASH (Mansion-
Apartment-Shack-House). Along the
west coast, locals are quite familiar with
surf shacks, date shacks, and Tiki-in-
spired shacksromantic, boutique-like
bungalows for the leisure visitor.
the mountains."
As part of the exhibition, Don Ed
Hardys Tat Cat Shack (Tattoo Hut) will
feature an activated tattoo machine. Jeff
Gillette studied slums in India as the in-

C
ombining art and architecture, thir-
ty-three California artists including Don
Ed Hardy, Shag, Paul Frank, and Sandow
Birk will install their art shacks at Laguna
Art Museum. Most shacks will be open to
visitors, and some will include interactive
components such as music and film.
Abandoning the rules of the art mar-
ket and pressure to create work to sell, art
shacks allow the artists to create an ex-
periential environment, narrowing the
distinction between art and function, ob-
ject and environment. Though few of the
included artists have any direct experi-
ence with living in shacks, they are pres-
ent in their collective memory through
spiration for his art shack, while Marnie
Architecturally, a shack is the lowest Weber's shack will feature a Super 8 film,
form of construction, meant to serve the The Red Nurse and the Snowman. Craig
most basic or immediate needs. By defini- Stecyk will have a small shack on the roof
tion, a shack is a place of disrepair made of the museum only visible through the
of the most humble scrap materials like security camera monitors, and Kenny
plywood, corrugated metal, and plastic. Scharf will have a trailer shack thatll only
According to the United Nations, more be shown at the opening night reception.
than one billion people (one-sixth of
the world's population) live in slumsa Ultimately, the artists in this exhibition
settlement made of shacks. In every sense defy the norms of rules set against them,
of the word, a shack is temporal. It even questioning the modes of mass produc-
implies to the more humorous, subver- tion, social restrictions, and perhaps
sive, and misbehavedto "shack up"or global capitalism.
Art Shack will be exhibited at the Laguna Art Museum in Laguna Beach, CA
from June 13 through October 3. The opening night reception is June 12.

Museums 13
 GALLERY NEWS

Bringing Contemporary African Art to Los Angeles

by Gloria Huwiler

Contemporary African art is something

few international collectors have access
to in the States, mainly because few gal-
leries exist that carry the work. Yet both
continental and diasporic African Art-
ists abound and their rare and innovative
work is testimony to the creativity and
insight that exists. Actress and gallery co-
founder Gloria Huwiler speaks about dis-
covering her interest in the field and the
creation of Anajuwa Gallery.

In 2006 I had recently graduated from

Brown University and moved to New
York to pursue acting. I also took up a
part time job in a contemporary art gal-
lery in the Time Warner Center, Millenia
Fine Art. My mother has always been a
collector of African Art, and I grew up
with a keen appreciation and love of the
field. Coming from this background, a
part time job in a gallery was an ideal
creative day job while I immersed my-
self in New Yorks acting scene. Carlene
(above) An Opening at Anajuwa with actress Sydney Tamiia Poitier, writer/director/producer
Soumas, the gallery director at Millenia Oz Scott, Anajuwa founder Gloria Huwiler; (below) Vincentio Phiri, Chibede, 48 x 36.8.
Fine Art asked her new assistants to put
together ideas for prospective exhibitions
by researching emerging artists, offering
the possibility of an exhibition at Millenia
Fine Art, New York, if she approved of
the concept. I immediately turned to the
plethora of contemporary African Artists
Id been exposed to at home and put to-
gether a presentation for a group exhibi-
tion of Zambian painters and sculptures
entitled Realizing an African Renais-
sance. With the help of Carlene Soumas
and various people on the ground in
Zambia, the exhibition took place within
the next six months and featured nine
Zambian painters and one sculptor.
The exhibition at Millenia Fine Art was
well received by collectors, and several of
the artists' work sold out quickly, show-
ing a strong demand for this new, unseen
work. In the course of preparing for the
exhibition, I realized just how underde-

14 A|C|A June 2010


Sydney Tamiia Poitier and Sir Sidney Poitier at an Anajuwa opening.
veloped and underexposed the field of
contemporary African art in the United
States was. Only one contemporary Afri-
can artist, Yinka Shonibare, has been sold
at auction in Sothebys Contemporary
Section. No auction at present is dedicat-
ed exclusively to the field, despite the fact
that contemporary African art of superb
quality continues to be produced, and
auctions in contemporary Chinese, Lat-
in, Indian, and European work take place
regularly. Rather, the mainstream repre-
sentation of African art that exists in New
York is dedicated solely to antiques and
tribal artifacts. Yet, with the proposed
Museum for African Art currently un-
der construction on Museum Mile on the
Upper East Side, contemporary African
art is slowly entering mainstream con-
sciousness and getting the necessary ex-
position and exposure it deserves.
Having seen the success of the work
at the Time Warner center, I was confi-
dent of the interest in contemporary Af-
rican art if well curated and exhibited
in a central and well exposed venue and
have been committed to continuing to
provide access and exposure to contem-
porary African Artists since.
In following my acting ambitions by
moving to Los Angeles, I met a business
partner keen on opening a contempo-
rary African art gallery. Anajuwa Gallery
was borne out of our mutual interest in
the field, and is dedicated to showcasing
emerging and established contemporary
EXHIBITIONS
GALLERY NEWS
African artists in Los Angeles. In my time
here, I have found the the exposure of
contemporary African art to be lacking,
as in New York. Apart from the superbly
curated exhibits at the Fowler, few com-
mercial galleries carry contemporary Af-
rican art and none specialize in it.
While few generalizations can be made
on so broad a field, contemporary Af-
rican art is a fusion of traditional influ-
ences with modern and contemporary
styles and forms. Debate often abounds
on the nature of the work and the ques-
tion of authenticity is a commonly held
concern of intellectual art critiques. How
African does contemporary African Art
has to be, in order to be considered au-
thentic? The question seems utterly inane
when one considers that art is an expres-
sion of an artists experience, his vision
a projection of himself on reality. Con-
temporary African art is precisely that,
an expression of modern Africa through
the eyes of its artists, and the result is the
rich, hybrid, combination of influences
that post modernism has wrought on Af-
rican itself.
Anajuwas inaugural exhibition, Inte-
gration, was displayed at Anajuwa Gal-
lerys Melrose. The opening reception was
hosted by Sydney Tamiia Poitier, and at-
tended by Sir Sidney Poitier, Bernie Casey,
Gina Ravera, and various members of
the African American and entertainment
community in Los Angeles. The exhibi-
tion features the work of artists William
Bwalya Miko, Mwamba Mulangala, Geo-
phrey Phiri, Vincentio Phiri, Rikki Lungu,
Baba Jakheh, Lutanda Mwamba, the Zata
Brothers and Stary Mwaba. The work will
be on display at the 8360 Melrose Avenue
gallery till the end of May and then relo-
cated to the Fairmount Miramar Hotel in
Santa Monica.
Gallery News 15
C E L E B R AT I N G T E N Y E A R S

J U LY 15 -18, 2010

ART SANTA FE 2010 / AN INTERNATIONAL ART FAIR

THE SANTA FE CONVENTION CENTER
OPENING NIGHT GALA / T H U R S D A Y, J U LY 15, 5 - 8 P. M .
JULY 16, 11- 7 PM; JULY 17, 11-6 PM; JULY 18, 11- 6 PM / TEL 505.988.8883 / WWW.ARTSANTAFE.COM

ALL TICKETS AVAILABLE AT THE LENSIC BOX OFFICE 505.988.1234

PICTURED LEFT TO RIGHT, TOP ROW: Jorge Fernandez, JoAnne Artman Gallery, Laguna Beach, California; Bruce Clarke, Bekris Gallery,
San Francisco, California; Yayoi Kusama, EDEL, Osaka, Japan SECOND ROW: Robert Turner, Robert Turner Photography,
Del Mar, California; Peter Weber, Galerie Renate Bender, Munich, Germany THIRD ROW: Friederike Oeser, Galerie Walter Bischoff,
Berlin, Germany; Michael Schultheis, David Richard Contemporary, Santa Fe, New Mexico; Jimmy Ernst, Osuna Art, Bethesda, Maryland
F. LENNOX CAMPELLO

Superman flying naked and low to the ground in order to avoid radar
Charcoal on paper. 20x24 inches. Circa 2009.

ALIDA ANDERSON ART PROJECTS

WASHINGTON, DC ALIDAANDERSON.COM
MAYER FINE ART
NORFOLK, VA MAYERFINEARTGALLERY.COM
PROJECTS GALLERY
PHILADELPHIA, PA PROJECTSGALLERY.COM
 JUNE 2010
Personal Archaeology is an intimate look into
the development of Marina Abramovi as one
of the most important artists of our time,
beginning with her historic performance
work of the 1970's through to her most re-
cent work from 2010. The title collection
of the sculpture has not been shown before
in the US. This highly personal work from
1997-99 consists of a large wooden cabinet
containing numerous drawers, in which ar-
tifacts from Abramovi's life are displayed.
The public is encouraged to look through
the drawers to view the variety of revealing
objects and mementos that Abramovi has
collected, including photographs and hand-
written notes, that has influenced her work.
The trio of artists included in this group ex-
hibition utilize a wide range of materials in
unlikely combinations. Painting detritus is
reclaimed as a medium for drawing; sculp-
ture is co-opted as a vehicle for painting;
and drawing is used as a tool to mimic ges-
tural painting and explore abstraction. Chris
Duncan uses mirrored paper as a surface for
painting, stitching, or collage. Human Ab-
straction (4, 5 and 7) each feature a circular
form composed of hundreds of hand painted
multi-colored dots. The surfaces partially
reflect the viewer, but are obscured by spray
paint and stitched paper. In Joseph Harts
mixed media drawings, color, line, and form
have equal presence. Gestural marks are as
pronounced as representational imagery.
All-over compositions feature fragments of
Concrete Firmament continues Christopher
Cook's work in liquid graphite (graphite pow-
ders, oil, and resin) on aluminum panels or
coated paper. In this new sequence of images,
Cook explores the formal and psychological
qualities of road tunnels throughout Italy. In
doing so he is also able to reconsider an ear-
lier fascination with worlds within worlds,
and encapsulated space. These 'graphites'
contain both photographic (or cinematic)
and painterly elements, often in the same
image. Cook's method lends an enigmatic
air to the everyday, allowing him to suggest
the proximity of apparently unrelated emo-
tions, such as fear and nostalgia. The same
method also emphasizes the connection be-
EXHIBITIONS
A selection of Abramovi's iconic pho- Marina Abramovi
tographs is installed in the main gallery, Sean Kelly Manhattan
providing a visual time line of the evolu- [through June 19]
tion of this pioneering performance artist.
Works such as Rhythm O, Lips of Thomas,
Carrying the Skeleton, and Cleaning the
House chart the trajectory of her career
over more than 40 years. The main gallery
also includes one of her newest videos,
which is a startling image of Abramovi,
her face covered in gold leaf, staring out
at the viewer. The faint ruffling of the gold
leaf is the only motion in the video, so
draws the viewer in close for further in-
spection; they ultimately find themselves
meeting Abramovi's direct gaze. Marina Abromovi, Portrait with Golden Mask,
2010, color video projection on DVD, 30 loop.
antique vessels and statuary, arranged in All This And Not Ordinary
lyrical patterns. Fabienne Lasserre com- Jeff Bailey Manhattan
bines linen, paint, steel, paper, and hand- [through June 19]
made felt to create forms that stretch, lean (from left:) Joseph Hart, Untitled (Vessel
Study), 2010, collaged paper, ink, acrylic, colored
and drape. Her multifarious sculptures pencil and graphite on paper, 19x15; Fabienne
can mimic human interaction while also Lasserre, Cradled Drawing 1, 2010,linen, wire,
acrylic polymer, acrylic on paper; Chris Duncan,
implying science fiction creatures. Platform, 2010, wood putty, spray paint, acrylic
paint and mirrored paper on panel, 23.25x32.
Christopher Cook
Mary Ryan Manhattan
tween our experience of the world and the [through June 19]
means by which we form such experience.
Christopher Cook, Flicker on the Cave, 2010,
Additionally, the dualities present in this graphite, oil, resin on coated aluminum, 40 x 59.
work light and
dark, hard and soft,
interior and exte-
rior create a dy-
namic that not only
conveys the magical
sense of encapsu-
lated space, a realm
'out-of-place', but
also of conscious-
ness moving to-
wards a fierce and
intrusive light.
Exhibitions 19
 EXHIBITIONS

Ben Gocker Ben Gockers first solo exhibition, There
PPOW Manhattan is really no single poem, does not include
[through July 16] any poems per se among his bright instal-
lations, drawing series, and wall-mounted
sculptures. He pays significant attention to
the idea that no work of art should or can
exist alone. This creative ethos is reflected
in Gockers inscription of the names of nu-
merous friends, acquaintances, and loved
ones in one of the shows centerpieces, the
large painting titled simply Namesas it
is in Gockers display of book covers for
imaginary books, Floating Collection, a fan-
tastic prelude to unrealized genius. Each of
these works contains elements that cannot
stand in solitude, that invite other elements
to surround, contextualize, and interrogate
them. Each is also brilliantly illuminated
by others in the show; Gocker emphasizes
interaction, dialog, allusion, and sociability
even as he mourns the ephemeral service
into which these forms are pressed.

Ben Gocker, Names, 2010, wood, canvas, plaster,
acrylic, sand. 69 diameter.
Martn Reyna
Hogar Collection Brooklyn
[through June 28]
Expanding and melding his ongoing explo-
rations of landscape, architecture, the void
of nothingness and light, Martn Reynas
paintings celebrate the accident as a thing
that can be controlled. With the use of min-
imal gestures his paintings provoke a poetic
blurring of the distinction between the rec-
ognizable, the purely abstract, and the place
where the two meet together in a dreamlike
state. In both his heavily textured oils on
canvas and his intricately woven watercol-
ors, a vivid use of color plays a vital role in
the representation of metaphorical analo-
gies of existence and creation. With the use
of familiar yet mostly camouflaged imagery
such as trees, geometrical shapes, and spa-
tial perspectives, the works pave a way into
the convergence of a space where landscape
meets an abstracted tapestry, weaving to-
gether the most miniscule of components
to make up the whole and refracting all of
the possible colors of the spectrum into
a transcendental space that is both con-
templative and meditative. The prismatic
qualities are fused to formulate and exude
a metaphysical by-product where particles
collide, explode and separate creating a
unique and spiritual view of the universe.

Martn Reyna, Untitled (2), 2009, watercolor on
paper, 26 x 20.
Sarah Walker
& Ken Weathersby
Pierogi Brooklyn
[through June 27]
(below left:) Sarah Walker, Compound, Blue
Haze (detail), 2010, acrylic on panel, 10x11.
(right:) Ken Weathersby, 177 (gothic marxism),
2010, acrylic and graphite on linen, 20x33.
In this new series, Edge of Everywhere,
Sarah Walker continues to develop her
highly active and dense surfaces, this time
primarily on panel rather than paper.
Structures found within technology, the
sciences, nature, and architecture provide
the internal organization and logic for her
paintings, which work to visually organize
information. Walker's earlier works can be
seen as attempts to visually organize the in-
formation overload around us. In her recent
paintings, she deals further with the chaotic
and multi-dimensional reality of existing
simultaneously in the data overload of the
real and the virtual worlds. One painting,
Everywhere Is Always, hints at Walker's at-
tempt to get at where the so-called real and
virtual have merged and the two realms
are no longer easily distinguishable. Ken
Weathersby's paintings are intense, elegant
grids of primary color that subtly invert ex-
pectations in a number of ways. While some
of the carefully penciled and painted can-
vases display their colorful patterns, others,
in whole or in part, are turned to face the
wall. Several have cut-away sections, which
have been replaced by fitted inset panels
painted with grids that either mimic or
contrast with the surrounding canvas. The
exhibition also contains a number of two-
sided paintings, which may be flipped and
re-hung during the course of the show to
expose a hidden view. Another painting is
set flush within a carved-out hole and is
situated within, rather than hung on, the
surface of the gallery wall. This exhibition
as a whole and the individual works within
it are oriented to create a visual play of op-
tical experiences, but also a particular kind
of mental or conceptual engagement.

20 A|C|A June 2010

 EXHIBITIONS

Kathryn Cornelius
Curator's Office Washington DC
[through June 26]

In this exhibition, The Feeling of What Hap-
pens, Kathryn Cornelius presents three new
video series that investigate how frames of
interaction can be constructed to elicit emo-
tive responses in the viewer. She also explores
how our individual experience and underly-
ing biological systems come to bear on how
we make meaning out of action. Cornelius
explores the flexibility of the term 'perfor-
mance' through such diverse performative
subjects as physical people and their actions,
interpersonal relationships are explored
through simplistic actions and the ex-
tremes of their expression. In the second
series Or, Death Speaks for Us, Cornelius
creates images without images, text and
context without explicit visual grounding.
These videos are small, intimate looks into
the personal lives of individuals that serve
as mini-portraits, imagined narratives of
what these individuals may experience
and see in their final moments. The third
Kathryn Cornelius: (left and top) How We Learn
to Love, Vol. 1, 2008, single-channel video (HD
DVD), 2:52 (looped); (middle) Or, Death Speaks
for Us (Heather), 2010, single-channel video
(HD DVD), 3:07. (directly above) Home Again,
Home Again (In my case, self-absorption is
completely justified... - Laura), 2010, single-
channel video (HD DVD), 5:20. All: edition 1 of 10
+ 2 APs. Courtesy of Curators Office and Artist.

video editing as choreography, narrative and
dialog construction, and visual versus audi-
tory context. Each series is an experiment
towards engaging the audience interactively
in the work so that the feeling of what hap-
pens is ultimately expressed by the viewer.
The first series includes How We Learn to
Love, two videos in which the dynamics of
series, Home Again, Home Again, pres-
ents two alternatives to the film "trailer"
form the comedy version and the trag-
edy version. In its entirety, the exhibition
presents a maelstrom of tragicomic emo-
tions with the goal of engaging the viewer
as the ultimate producer of each of the
presented works.
Martina Nehrling
ZG Chicago
[through July 10]
Martina Nehrling: (right below) untitled (detail),
acrylic on canvas, 36 x 60; (bottom) Garden
Drunk (detail), acrylic on canvas, 48 x 144.

Martina Nehrlings visual vocabulary is based compositions of accumulation. Grouped

on the immediacy of the brushstroke and or tangled together, I use multiple distinct
the flexibility of color. Her latest exhibition, brushstrokes for their graphic directness
What the Walls Heard, reflect these qualities. and use particular color relationships to
She paints from a near compulsion to re- interrupt or punctuate the tracking of
spond to more than the merely visual world patterns of value and intensity.
and as a means of engaging in a dialog
communicating through the primacy of the
mark compounded by the myriad associa-
tions inherent in color. Her paintings proj-
ect visual rhythms inspired by the sounds of
daily life, giving off a perspective that is airy
while also being substantial. Nerling says,
Compelled by the pulsation of the beauti-
ful and horrific relentlessly clashing, I create

Exhibitions 21
 EXHIBITIONS
Rob Matthews In his new work, Rob Matthews delves into
Gallery Joe Philadelphia mans interaction with his natural sur-
[through June 26] roundings. Landscape is clearly the domi-
nant force here, while man is a fleeting bit
player. These intimate drawings, most 10 x
8 inches, of intense graphite work are full
of symbolism and iconographic imagery
(a snake, a mound of salt, or a carefully
placed skull reflecting). As in Matthews
past shows, his passion for the work of
Albrecht Durer, Hugo van der Goes, and
Giotto shows through. The Devils Pool
No. 1 & 2, two densely worked landscapes
show sections of the Wissahickon Creek.
Paul F. Keene, Jr., was a master painter who
exemplifies the success, tenacity, dedica-
Rob Matthews, The Devils Pool #1 (detail),
2009, graphite on paper, 10x12.5. tion, and humanity of his generation. His
artistic success and achievements in Phila-
Paul Keene delphia and beyond, opened doors for Af-
Sande Webster Philadelphia rican American artists by demonstrating
[through June 26] what was possible. Keenes major solo and
group exhibition record extends across
four continents, including shared exhibi-
tion space with Picasso and Leger in Paris.
Keene lived and worked as an artist in Phil-
adelphia for seven decades. His passionate
and soulful paintings were inspired from
Paul Keene, Winter Urban Landscape, 28x40.
Carlin Wing's Ceilings Where I Sleep, 2005-
2010 is a collection of 130 chronologically
organized photos of interior and exterior
Carlin Wing spaces in which the artist has spent at least
Anthony Greaney Boston
one night during the last five years. Shot in
[through July 20]
various formats, including analog, digital,
Carlin Wing, INDES Sport Hotel, San Salvador, and cell phone cameras, this ongoing ar-
October 24-30, 2005, inkjet fiber print, 4x5.33.
chive documents
the architec-
tural details that
frame the art-
ist's drifting into
and awakening
from sleep. With
her gaze fixed
upward on a
changing canopy
of textured walls,
cheap veneers,
patterned cur-
tains, and banal
lighting fixtures,
Wing constructs
22 A|C|A June 2010
Matthews has removed a bridge to present
what appears to be a pristine scene. These
compositions reveal little trace of a human
presence, yet are unsettling within the con-
text of the other landscapes. Fresh death
is present in a large drawing of Fairmount
Park showing dozens of recently killed bats
nailed to a tree, evidence of a bat hunt the
night before. Scattered beer cans in a com-
panion drawing hint at activities leading up
to the hunt. For Matthews, We attempt to
organize and contain nature to experience
it on our terms but in the end we lose con-
trol and succumb to our own end.
his life experiences and sophisticated in-
ternational education. Keene absorbed the
colors, diversity, and rhythms of urban life
while growing up in North Philadelphia. In
this retrospective, Remembering a Modern
Master, Keenes paintings can be viewed
documents of a very personal confronta-
tion with the canvas. Images of jazz, ur-
ban walls, geometric forms and bold color
combinations define much of his work. As a
master of paint, drawing, composition, and
color, Keene had all the necessary tools to
communicate and express his inner world.
a prosaic catalogue of intimacy whose af-
fective kernel remains tantalizingly hidden.
Wing also addresses the history of photog-
raphy and conceptual art. Her mapping of
domestic topography resonates with the
modernist archival impulse of Eugne At-
get, among others, and its subsequent itera-
tions in the typologically organized, seri-
ally structured photographs of artists like
Bernd and Hilla Becher and Ed Ruscha.
Unlike these precedents, Wing shifts her at-
tention from public spaces and monuments
toward architectural interiors and libidinal
worlds and from a vertically positioned op-
tical apparatus to a horizontally sited bodily
matrix. Though she may use photography's
evidentiary language, Wing dissolves the
objective lens through which 20th century
documentary and conceptual practices
have tried to capture and classify experi-
ence and replaces it with an unpredictable
phantasmic organ. - Nuit Banai

Linda Flemings solo exhibition, Lingering,
is comprised of medium and large-scale
sculpture works of, primarily, painted and
chromed steel. With complex geometric
forms that give equal consideration to the
potentialities of both the ephemeral and the
fluidly architectonic, each sculpture reflects
an introspective investigation of the natural
world and Flemings distinctive expansion
upon it. Her intersection of circuitous flow-
ing elements with hard-edged materiality in-
vokes the many substantive dualities inher-
ent in her work masculine/feminine and
organic/hard-edged all residing in the
Weep and Wonder, the latest work from
Jennifer Nehrbass, continues the artist's focus
on women and her attempt to turn of the pose
of the helpless female inside out. The highly
technically skilled paintings in oil on canvas
often convey an eerie clarity and might just
as easily be photographs staged for a psy-
chological encounter and a restrained yet
ambiguous eroticism can be found in many
of Nehrbass paintings. Weep and Wonder
was inspired by Margaret Atwood's book,
The Penelopiad. This ongoing series of paint-
ings imagines each of the twelve maidens as
oval cameo portraits expressive of modern
Colliding polarized trends within contempo-
rary art, Joe Ramiro Garcia merges Pop Art's
distanced reproductions of cultural icons
with an expressionistic, painterly aesthetic.
Colorful images of whimsical figures and
everyday objects in his playfully provocative
paintings animate a space that seems at once
recognizable and eerily mysterious - a tab-
leau of discordant players depicting an enig-
matic narrative. By referencing both popular
culture and private experiences, his psycho-
logically resonant oil-and-alkyd paintings
navigate between the delight of instant rec-
ognition and the riddle of a dream or elusive
memory. Referencing the ocean as both a
bridge and a barrier between Japan and the
West, Hiroshi Yamano's art offers the sea as
an evocative symbol of the conflicts between
tradition and change, isolation and openness
- an elemental space that both encloses and
embraces the complex dialogues of personal
and national identity. Celebrated equally for
EXHIBITIONS
fertile ground in-between. As a vast ongo- Linda Fleming
ing study over the years in form and scale, Robischon Denver
Linda Flemings own studio maquettes [through June 19]
continue to inform and evolve as pivotal
source material for the artist. Investigat-
ing the forms in nature and humankinds
place within, her intricate maquettes sug-
gest encompassing universes beyond hu-
man perception. Considered contextually,
these differing approaches to scale allow
a view into the artists larger thought pro-
cess exploring a consciousness that exists
simultaneously in both the concrete and
the abstract.
dilemmas, simultaneously ancient and
contemporary. Ambiguity, realism, and Linda Fleming, Cumulus 1/3, 2010, chromed
fantasy play atmospherically in a narrative steel, 72x46.
moment akin to magic realism. Drawn
from a Victorian obsession with sex and Jennifer Nehrbass
death, these portraits speak to forbid- Klaudia Marr Santa Fe
den thoughts and desires, suggesting that [through July 11]
what is hidden from, and forbidden to the
maidens, is ultimately denied to the view-
er. What the portraits yield is an intimacy
of time and place that meanders through
rich details and nuanced perplexity. For
the artist, bafflement is as necessary to ex-
perience as delicate reasoning.
their astounding formal innovations and
Jennifer Nehrbass, Lights Out, 2010, oil on can-
considerable conceptual richness, Yama- vas, 22x28.
no's sculptures are praised as instances of
the most technically accomplished glass
Joe Ramiro Garcia
art produced today. In a unique method
& Hiroshi Yamano
the artist adapted from Japan's history of LewAllen Santa Fe
metal crafts, complex forms [through June 27]
of blown, sculpted, cut,
and polished glass are
fused with delicate
layers of silver
leaf while still
hot and preced-
ing copper plat-
ing, allowing
him to emulate
the intricate
decorative sur-
faces of Japanese
screen paintings.
(above) Joe Ramiro Garcia, Daytime TV, 2010,
oil & alkyd on birch, 18x16. (left) Hiroshi Yama-
no, Nagare #106, 2009, blown sculpted glass,
silver engraving and copper plating, 31x6.5x3.
Exhibitions 23
In Review

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Tuesday - Saturday: 10am - 6pm | Sunday & Monday by appointment.
 A R
C ALIFORNIA
ONTEMPORARY T

Maria OMalley36 Linda Vallejo40 Arshile Gorky46

Angela Ellefson 54 Christy Rogers 53 Patrick Graham 46
California Exhibitions 44-49

June 2010 | On the Cover: Mark Harrington, Depth of Field 4, 2010, acrylic on linen, 48 x 38.25. (see page 46)

Fang Ling-An
Everything Is Stitching
Together Simultaneously

May 29 - June 27, 2010

207 W. 5th Street

Los Angeles, CA 90013

CB1 Gallery Hours:

Wednesday - Sunday, noon - 6 p.m.
Friday open until 7:30 p.m.

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 LORA SCHLESINGER GALLERY

May 22 - July 3, 2010

2 5 2 5 M I C H I G A N A V E T 3 S A N TA M O N I C A C A 9 0 4 0 4 3 1 0 8 2 8 - 1 1 3 3
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MIKE SAIJO ONE PIECE

Including collaborations
with Puma Yoshie Seki
BLEICHER/GOLIGHTLY
1431 Ocean Ave. , Santa Monica, CA 90401 June 19th-July 1, 2010
+1 310 451 9983 Reception: Saturday June 19th, 6-9pm
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 Ben WHite
History and Vanity: tHe distillation of rumor

Members of Westboro Baptist Church Protest at a Neanderthal Burial Ceremony, 2010

acrylic and spray paint on panel | 36 x 48 inches

may 26-June 26, 2010

5797 Washington Boulevard | Culver City, California 90232
323.272.3642 | www.blytheprojects.net
 ARTISTS
Maria OMalley
An Encaustic Journey
Maria OMalley, Cosmic Landscape, encaustic and graphite on panel, 36x48.
F or three consecutive nights, Maria
OMalley, an accomplished figurative oil
painter, dreamed of bees. Her ancient
Greek ancestry taught her to be sensi-
tive to the interconnectedness of life
and that dreams can convey messages.
Because of these dreams and their re-
petitive nature, OMalley paid attention.
Her subconscious thoughts and ensuing
research about bees led her to determine
what the dreams meant. She discovered
that beeswax, also known as encaustics,
is an ancient art form. Except for Jasper
Johns encaustic resurgence, the medium
was not popular at the time of OMalleys
dreams. With no knowledge of working
in encaustics, OMalley learned all she
could about using beeswax in her art.
While the artist investigated and studied
new art supplies, she continued to paint
in oils. OMalleys figurative oils won sev-
eral first place prizes and were part of a
36 A|C|A June 2010
long list of fine exhibitions. These include
the Laguna Art Museum and Chapman
University. Working in familiar oils and
less familiar encaustics, the artist realized
she was at home using the beeswax pro-
cess. Following every lead, she sought to
know more about her lifes new direction.
Eventually, an unknown, elderly artist
in New York City graciously taught her
much of what she needed to know.
OMalley never anticipated that her
Greek ancestry would come to her aid
in the 20th century. Almost 3,000 years
ago, Greek artists, were accomplished
in encaustic portraits and mythological
scenes on panels which still exist today.
Homer, the epic Greek poet, sited the use
of encaustics in describing the battle of
Troy. Increasingly OMalley was drawn to
beeswax when she realized its durability
over other art materials. It has no toxic
fumes and requires no solvents. Encaus-
by Roberta Carasso
tics do not deteriorate, yellow, or darken;
and do not have to be placed under glass.
In fact, the Greeks used encaustic and
resin to weatherproof their ships. While
the process is laborious, a work of art has
a permanency rarely seen in other mate-
rials. Also important is health hazards are
reduced or eliminated making the pro-
cess environmentally sound.
Requiring a heat of 180 to 200 degrees,
molten beeswax is like scalding thick
syrup. It does not unite with water or
many other materials and requires sig-
nificant experience to know when it is
ready to use. Like a neophyte chemist,
OMalley made her studio into a labora-
tory, finding her way in unexplored ter-
ritory. Many experiments were disasters
and dangerous, however, perseverance
prevailed. Not only has she gained exper-
tise, OMalley has tailored the encaustic
process to suit the materials she loves and
her particular artistic style. Today she
blends drawing materials into wax; in-
vents her own equipment, and incorpo-
rates disparate supplies bought at lumber
yards. OMalleys unique process inte-
grates natural resins, and fuses drawing,
painting, and relief sculpture.
When OMalley went from oils to en-
caustics, her style and subject matter al-
tered, yet certain key signature features
remain. Her encaustic landscapes, as her
oil-based figurative paintings, engage the
viewer with large open negative spaces
and linear configurations. A lone tree or
a few trees in a solitary open white field
are haunting images. Or, graceful trees,
with elegant branches may cover the en-
tire surface. Painted in grays and blacks
from graphite pencil shavings, or reds of
melted Conte crayons, OMalleys land-
scapes are painted more from imagina-
tion than observation. Their enigmatic
quality comes from a fusion of layers that
 EXHIBITIONS
ARTISTS

Maria OMalley

may appear deceptively flat or texturally

thick, but always painterly as OMalley
builds layer upon layer, up to 30 layers of
encaustics and resins varying the density
of each area.

This arduous process requires continu-

ously adding and removing materials by
abrasion and application; includes vari-
ous drawing methods - thick and thin
brushstrokes and mark making; and
sculptural methods - the carving and
building up of tactile surfaces. The result
of this rich process of constructing and
deconstructing, is a luminous and matte
surface that reflects light in varying de-
grees throughout the composition. In ad-
dition, an interplay of layers, with edges
of one process meeting layers of a former
process, gives the surface an other world-
ly appearance as if one can see and feel
different time periods simultaneously.
Viewing an OMalley painting is like be-
ing in the moment yet going back in time,
peeling through stratum of the past that Maria OMalley: (above) Red Dune, encaustic and conte on panel, 32x38;
are either covered over or seem to juxta- (below) White Lake, encaustic and graphite on panel, 6x24.
pose past with present.
with the process as she finds sacred places try, OMalley creates timeless and lumi-
Using thick leather welding gloves, and spaces that are intuitive and organic. nous encaustic imagery that will endure.
sculpting tools, torches, hot air wallpaper With each step, each abrasion, each over-
guns, and working with molten materials, lay of placing natural resins and beeswax Roberta Carasso, Ph.D., is an elected
it is impossible to have preconceived no- on the panel, surprises continuously oc- member of the International Art Critics
tions or be formulaic. Rather encaustics cur. Like a symphony conductor, OMalley Association, curator, and art writer. Her
demand discovery. Consequently, trained guides each element to fruition, keenly website is carasso.com/roberta. For more
in a representational style, OMalley now overseeing the many dynamics simulta- information about Maria O'Malley visit
works conceptually, becoming a partner neous at play. Thus, like her Greek ances- mariaomalley.com.

Artists 37
 ARTISTS

Linda Vallejo
In Her Own Words:
ART AS A NEPANTLERA JOURNEY
Bridges are thresholds to other realities, archetypal, primal symbols of shifting consciousness.
Bridges span liminal spaces between worlds, spaces I call nepantla, a Nahuatl word meaning
tierra entre medio. Transformations occur in this in-between space, an unstable, unpredictable,
precarious, always-in-transition space lacking clear boundaries. - Gloria Anzaldua

My art is an eclectic mixture of the of diverse racial and cultural traditions. leap from one idea to the next, over his
many nepantla realms I inhabit as an art- My father, an officer in the Air Force, was long creative lifetime, fascinates me and
ist and woman of color. Renowned femi- stationed throughout the US and Europe, continues to influence my own work.
nist scholar Gloria F. Orenstein notes so our family traveled extensively. I was
that my work narrates a mythic jour- able to visit many of the worlds greatest I believe that authentic artworks can
ney from nepantla, the space between museums and study the masterworks in only be created through an understand-
divided worlds--cultures, lands, states of their collections. Recalling images from ing of the artists own individual jour-
consciousness, ney combined
ideologies, with an artis-
identities--to tic style de-
an envisaged veloped over
archetypal decades of
realm of light dedication.
and enlight- I commit at
enment. I least five years
am indebted to any new
to Profes- body of work.
sor Orenstein I believe that
for bringing long-term
the nepant- commitment
lera journey allows me to
to light. This discover and
concept de- proficient-
scribes my ly illustrate
practice of the multiple
moving from and complex
one artistic points of an
idea or process idea.
to the next. I
continuously As a viewer,
abandon situ- I am attract-
ations of cer- ed to unique
tainty and Linda Vallejo, Electric Landscape Full Moon in Daylight, 2009, oil on canvas, 50x60. and complex
travel to un- technical ap-
known places where I am compelled to these cultural strongholds, I am remind- proaches in the application of paint and
create new images. I ask myself, Can the ed of the alchemical processes that art- mixed media. I am especially drawn to
artist move seamlessly from one idea and ists use in transforming information and images that juxtapose philosophical,
media to the next and remain centered experiences into new works. As a young sociological, spiritual, and political ele-
on their personal vision? And I find that painter living in Spain, I was deeply in- ments drawn from a wide span of history.
my answer is always a resounding Yes! spired by Pablo Picasso, particularly I am deeply attracted to images that draw
by his ability to develop a multitude of influence from an extended historical
I was born in East Los Angeles, an area unique and disparate styles. His ability to context to create an image of the contem-

40 A|C|A June 2010

 EXHIBITIONS
ARTISTS

Linda Vallejo

porary world in all its complexity. from Gustav Klimts emphatic patterning, es, media, and style in an effort to create
combined with the visual repetition and my own unique image and vision. Artis-
In my forty-year career, I have gener- coloration of Huichol yarn painting and tic leaps and accidental alchemies have
ated several distinct bodies of work, in indigenous ceremonial beadwork. These kept my artistic juices alive, and I always
a variety of media, often focusing on a are artists and images that I have stud- look forward to the next influence and
series of ideas around a central theme. ied and enjoyed over many decades. This inspiration.
Many times, the impetus
to create a new series of
works comes from an ac- What others have said
cident of artistic alchemy. about Vallejo's work:
Sometimes, I find that
the meaning of a particu- Artist, educator, and art
lar work of art is not clear critic Nancy Kay Turner:
until long after its comple- "Vallejos work demon-
tion. Many require consid- strates a relentless explo-
erable time for reflection. ration and manipulation
of materials while remain-
My newest suite of ing true to her inner vi-
works, The Electrics, be- sion. There is a profound
gan as portraits of the consistency here despite
California oak trees that the diversity of materials
surround my home in To- and influences. Vallejos
panga Canyon. For twelve prodigious body of work,
years, I had been paint- like the artist herself, is a
ing California landscapes force of nature.
in a magical realist style.
Then one night, I tried William Moreno, for-
to capture the glow of an mer Director of the Cla-
oak bathed in the light of remont Art Museum and
a full moon. The painted the Mexican Museum in
field dissolved into mul- San Francisco: Vallejos
tiple organic shapes and broad command of a va-
bold marks painted in riety of mediums: paint-
unexpectedly heightened ing, sculpture and site-
colors. Since that fateful specific installations are
night, I have completed all within her prolific oeu-
several oaks, landscapes, vre. Vallejos interests and
and portraits inspired by subject-matter spans are
Linda Vallejo, Electric Landscape Joshua Tree, 2008, oil on
this first effort where color considerable. Themes of
canvas, 48x36.
became electric, mov- beauty, consumption, war,
ing and vibrating across the canvas. In Nepantlera may arrive in an uncharted excess, world pollution, iconic references
thinking through the process, I believe artistic place, but she brings a melange of to international indigenous peoples and
that The Electrics have been influenced memories to the new creative locale. earth-based installations all reside in her
by Andy Warhols pop icons, the splotchy works.
"pixels" of Chuck Closes portraits, and Like a true Nepantlera, I have traveled
the psychedelic palette of 1960s artist full circle to emulate Picasso and his un- For more information about Linda
like Peter Max. I can also see influences canny ability to mix and match influenc- Vallejo, visit lindavallejo.com.

Artists 41
 Nadine Rovner, One at a Time Archival Digital Pigment Print , 2009

hous projects
DARKmatter
march 25 - august 17 2010

Featured Artists: Narelle Autio Jen Davis

Scott Davis Marian Drew John Houshmand
Molly Landreth Eric Ogden Trent Parke
Charles Robb Nadine Rovner Haley Jane Samuelson

h
Phillip Toledano Nicola Vinci

8687 melrose ave suite b222 los angeles ca 90069 | t 310.294.8577 | www.housprojects.com
31 howard street, floor 2 new york, ny 10013 | t 212.941.5801 | e info@housprojects.com
 EXHIBITIONS

Tim Hawkinson Tim Hawkinsons work is known for its
Blum & Poe Los Angeles sprawling, surrealistic self-portraiture in
[through June 26] which the body, through intense introspec-
tion, becomes an alien landscape open to
radical redefinition and transformation.
This artistic agenda is mirrored materially
by Hawkinsons use of familiar and ubiqui-
tous consumer packaging and household
objects in highly unconventional ways. The
new work continues these refrains, while
also exploring more pointedly, temporality,
mortality, and the cyclic. Hawkinson works
in a wide array of media involving sculpture,
painting, photography, and installation.
The exhibition reflects this range, with such
pieces as Orrery, a towering eight-foot tall
sculpture of a woman at a spinning wheel
atop a platform of rotating concentric circle
tire treads. This piece looks to mechanical
models used to illustrate the motions of the
planets and their moons in our solar sys-
tem. A sculptural collage of water bottles,
plastic shopping bags, recouped hardware,
and odds and ends comprise the womans
head, hands, eyes, ears, and spindle; every
part of the piece is interconnected and eter-
nally spinning. A companion sculpture,
Candle, takes the form of a giant foam can-
dle, nearly eight feet tall. The dramatic scale
propels this domestic object into a caustic
landscape and volcanic totem.

Tim Hawkinson, Orrery, 2010, plastic bottles,
shopping bags, inkjet prints, twine, string, wire,
foam, springs, tape, lead, steel, 93 x 96 x 96.
Donald Judd
Maloney Los Angeles
[through July 2]
This exhibition of rare drawings by Donald
Judd, created between 1963 and 1977, will
illuminate the process by which his sculp-
ture was conceived and realized, and pro-
vide an overview of the iconic forms for
which the artist became best known: stacks,
progressions, boxes, and various forms that
the artist called Specific Objects. Emerg-
ing in the 1960s in New York, Judd became
known as a major exponent of Minimal-
ism, a label he strongly rejected, prefer-
ring to describe his work as the simple
expression of complex thought. The years
between 1963 and 1977 were his most fer-
tile years, a period in which the artist estab-
lished the formal dictum that would guide
and inform his work throughout his life. In
these drawings, one can trace the trajectory
of Judds thought processes as he found a
starting point for the reinvention of Ameri-
can art. Judds desire was to make a distinct
break from the tradition of European Art.
He rejected the symbolism and emotive
work of the abstract expressionists, based
on free-wheeling use of color and gesture,
and by introducing the use of industrial
materials, Judd developed a vocabulary of
sculptural form that remains unrivaled.

Ben White's paintings merge anachronistic
Donald Judd, Example work from Drawings, personages, events, biblical narratives, and
1963-1977. Courtesy of Maloney Fine Art.
popular culture to create a fantastic, non-
linear interpretation of history. These con-
Ben White structions play with the nature of subjectiv-
Blythe Projects Los Angeles
ity and historical memory. He uses history
[through June 26]
as a medium, abstractly arrang-
ing topics displaced from their
proper contexts. To achieve this
dislocation, he filters his per-
sonal interests through Google
searches, juxtaposing disparate,
arbitrary results. Each work is
a mental self-portrait from a
certain moment, showing the
multiplicitous aspect of thought
one might be reading about
Gauguins Jacob Wrestling with
Ben White, The First Council of Nicaea Agrees on the Nature
the Angel while listening to the
of Leviathan, 2009, acrylic and spray paint on panel, 30 x 49. band Rush and dreaming about
their 2112 tour. These perceptions become
a mash-up, a summation of personal ex-
istence that can't be contained by any his-
torical account. Americas founding fathers,
persecuted witches, Jesus, and other sub-
jects from mythology and the artistic canon
populate these works, interacting fantasti-
cally with situations and personages from
distant and recent history. The incongru-
encies are absurd, and the absurdity itself
pulls them into the present. White's satire
disarms imposing and familiar figures,
relieving them of their historical and aca-
demic baggage and rendering them comical
and approachable. It becomes our history
again, on equal terms with the present and
once again acceptable as subject matter for
contemporary painting. Historical gravity,
leavened by wit, becomes a source of plea-
sure and fascination. - Lara Bank

44 A|C|A June 2010


William Swansons new show, Mass Con-
tinuum, takes a slight departure from his
old, both in terms of perspective and place-
ment of imagery. Although still interested
in presenting an illusionary view of highly
architectural forms colliding with natu-
ral environments, he now takes the viewer
inside to peek at the conceptual structural
designs from the interior. The works ex-
amine propagation of flora within vacated
public spaces including halls, corridors and
atriums. The empty spaces stand as skeletal
frameworks holding grids of light fixtures,
sections of walls, and partitions. These
structures indicate a once active corporate
or retail infrastructure now abandoned and
stripped of its original function. Done from
hand and without any computer generated
imagery, the compositions are created with
multi-layers of visual information piled on
top of each other. In Swansons paintings,
Ginger Wolfe-Suarez explores the psychol-
ogy of built space and perceptions of place
while re-engaging notions of site-specific-
ity. Approaching fragility and imperma-
nence, the material, textural, and odiferous
with the same complexity as site and scale,
Wolfe-Suarezs sculptures operate phenom-
enologically, the exhibition space reformed
into a temporal and experiential zone for the
viewers body. Utilizing a material palette
of wood, rock, paint, transparencies, light,
yarn, as well as various odors and scents,
her latest exhibition, Memory Objects in-
cludes sculptures and installations ques-
tioning how moments are made physical.
Wolfe-Suarez negotiates a tension between
One Piece is a dynamic ocean culture ex-
hibit by Mike Saijo, including collabora-
tions with fashion designer and artist Puma
Yoshie Seki. The exhibit juxtaposes eastern
and western sociocultural history in rela-
tion to oceanside life. Saijo and Yoshi cross
cultures as well as art forms, drawing from
both popular and academic movements.
Conceptual mixed-media, traditional Japa-
nese painting, surf art, Anime, and other
forms converse to explore the mythology
and ethos of the ocean environment. While
Saijo is known for his book pieces, de-
constructing pages of books and interplay-
EXHIBITIONS
the imagery creates a dialogue between William Swanson &
the eco-system and man-made construc- Jill Weinstock
tions and the effects both have on each Walter Maciel Los Angeles
other respectively. | In her new work, Jill [through July 2]
Weinstock continues the use of repetition
in cast rubber forms with an emphasis on
the nostalgia of ones own childhood. Using
an original Fisher Price dollhouse from the
1970s as her mold, Weinstock casts the toy
in different shades of pigmented rubber to
explore how experiences of objects in early
youth bridge the gap between reality and
reminiscence. Through this intensive pro-
cess of transforming the toys into concep-
tual mementos, Weinstock recalls the ob-
jects past, suggesting its greater connection
to our collective memories, desires, and
disappointments. Weinstock's sculptures
put forth a potent cultural resonance for (Top of Page) William Swanson, Particle Ho-
rizon, 2010, acrylic on wood panel, 30 x 47.
representing memory in tandem with the (Directly Above) Jil Weinstock, Group of Doll
Houses, 2010, pigmented cast rubber, edition
formation of self-narration. of 2 each, 10 x 15.75 x 9. Courtesy of Walter
Maciel Gallery, Los Angeles.
presence and non-presence, dispelling no- Ginger Wolfe-Suarez
tions of reduction, in what the artist terms ltd Los Angeles
a symbolic abundance through absence." [through June 26]
Both a collapsing of representation and a Ginger Wolfe-Suarez, Here (detail), 2009-2010,
questioning of material and wood, concrete, glitter, rock, mirror.
process are embedded within
the trajectory of Minimalism
and the Minimalist object.
Meaningfully endowing mem-
ory with physicality, the artists
sculptures explore boundaries
between constructed, found,
and cast-objects as well as dis-
tinctions between collective,
psychological, personal, and
historical memory.
ing them with images upon
text, he will be branching out
to new areas for this exhibit,
including on-location beach
installations, sculpture, and
the incorporation of painting,
glass, and sculptural elements
into his works. Collaborations
with Puma Yoshi begin with
Mike's usual Xerox composi- Saijo, Grand Line (detail), wax & charcol on pages
of Jungs Symbols of Transformation on wood panel.
tions on book pages as the starting point
Mike Saijo & Puma Yoshie
for new forms. Saijo reengages the Con- Bleicher/Golightly & Hamilton
textualist ideal of deriving meaning in art Galleries Santa Monica
from soci-cultural and historical contex. [through July 2]
Exhibitions 45
 EXHIBITIONS
Patrick Graham & Arshile Gorky
Jack Rutberg Los Angeles
[through July 31]
(above) Arshile Gorky, Untitled, c.1930-35, two-
sided drawing, graphite on paper, 11.25x8.
(center page) Patrick Graham, Wreath (Collat-
eral Series), 2005-2006, oil on canvas diptych,
72.87x134.63.
Mark Harrington
Edward Cella Los Angeles
[through July 10]
Mark Harrington: (top) Depth of Field 2, 2010,
acrylic on linen, 43.25 x 38.25. (bottom) Great
Whale, 2010, acrylic on linen, 79.5 x 72.5.
46 A|C|A June 2010
Monumental paintings and drawings by
Patrick Graham, widely regarded as Ire-
lands most important contemporary artist,
will be featured in this major exhibition of
his recent works, joined by a number of the
artists most iconic, large-scale paintings of
the last 25 years. Patrick Graham has been
credited by art historians with changing the
face of Irish painting, and has been recog-
nized by Ireland as a living national trea-
sure through his induction into Aosdna
since 1986. Fact of the Matter is his first
exhibition in Los Angeles since 2002. It of-
fers a rare opportunity to view a major pre-
sentation of Grahams works; some recently
exhibited in the critically acclaimed muse-
um exhibition The Quick and the Dead in
Dublin. | Opening in conjunction will be a
rare exhibition of drawings Armenian-born
Depth of Field, a new exhibition from
German-based artist Mark Harrington,
presents new non-representational paint-
ings, distinguished by their thickly layered
surfaces organized in rhythmic bands of
subtle, contrasting color. Inspired by the
cinematographer's term depth of field
the range of distance within a photograph
or film image that is acceptably sharp the
exhibition presents a sequence of paintings
exploring the dynamic visual relationship
between the painting's physical surface
and its illusory visual ground. With a debt
to fresco, Harrington imbeds multi-tonal
veins of color into monochromatic fields
through repeated insertions and reduc-
artist Arshile Gorky (1904-1948), one of the
20th centurys most important painters
and a seminal force of American modern
and contemporary art. The exhibition will
feature Gorkys early sketchbook drawings
dating from the early 1930s. It was during
that period when Gorky absorbed and re-
defined European avant-garde sensibilities,
having at that time a profound impact upon
such artists as Willem deKooning, Hans
Burkhardt, Stuart Davis, John Graham, and
Isamu Noguchi. [In fact, Burkhardt was re-
sponsible for introducing Gorky's work to
the Los Angeles artists and curators.] The
drawings in this exhibition reveal Gorkys
early ruminations on cubism and biomor-
phic abstraction, predating his encounter
with the European expatriates who arrived
in New York during World War II.
tions of paint. Using a minimal or reduc-
tive system of compressed layers of built-up
and stripped-away paint, the artist controls
what the eye perceives in terms of imag-
ery. In doing so, Harrington establishes a
dialogue between illusory bands of trans-
parent, distressed color and the plastic,
sculptural nature of his materials. Inves-
tigating the interaction of color and line,
Harrington's large-scale abstractions focus
on space, pictorial depth, and light. Em-
ploying the workmanship inherent to the
classical traditions of European painting,
Harrington's paintings represent a contem-
porary reinterpretation of the aesthetics of
modernist painting.

Mostly known for her performance-
based sculptures that test the perma-
nence of objects, New York artist Jamie
Isenstein presents a room of objects on
fire in House of Hot. For the exhibition,
Isenstein transforms various tchotchkes,
including cookie jars, Jell-o molds, nov-
elty teapots, and porcelain figurines
into functioning oil lamps. As products
of mass-production gathered from junk
stores and garage sales, these objects are
inconsequential and replaceable, yet made
from enduring, permanent materials. Un-
like candles that melt when set on fire, these
oil lamps are not consumed by the flames
they sustain. Drawing on Isenstein's inter-
est in immortality and the concept that art
is supposed to last forever, these oil lamps
reference the uses of oil lamps in religious
establishments, burial memorials, and the
Olympics as a way to invoke the realm of
eternity. In addition, in response to the term
Step in Time, a new exhibition by Bay Area
artist Judith Foosaner, features black and
white abstract paintings and collages. Foo-
saner's work commences with a delicate line
that evolves into bold complex forms and
compositions. In her painting, Kiss, organic
forms resembling leaves float gently within
fields of rich black paint. Similar shapes are
found and transformed into puzzle-like col-
lages in Pursuit. The fluidity and rhythm
of each shape is disrupted, cut and then
mounted on canvas, resulting in even more
elaborate compositions. The interplay be-
tween light and dark, consistent throughout
New York artist Rachel Harrison's practice
includes sculpture, painting, collage, pho-
tography, video and installation. Her work
is consistently layered, creating a multiplic-
ity of meaning and perspectives, engaging
the viewer both visually and conceptually.
Investigating space, time, and context, the
works redefine existing terms between im-
ages and forms while positing alternate re-
lationships to consider. Playing with color,
objecthood, and language, Harrison con-
stitutes analogies that lead to new thoughts
and investigations. This exhibition Asdfjkl;
presents six sculptural works composed
EXHIBITIONS
Jamie Isenstein
Michael Benevento Los Angeles
[through June 26]
Jamie Isenstein: (above) Flowers of Evil, video installation of
photographs; (images on right) two selections from the House
of Hot exhibition. Courtesy of Joshua White/Michael Benevento.
"nature morte," these oil lamps are grouped
in clusters of still-lifes with the flames en-
livening and giving presence to the static
objects. In the back gallery, presented like a
greenhouse full of plants are Flowers of Evil,
a series of photographs documenting flow-
ers officially registered with sinister names
such as Ghost Train, Anvil of Darkness, and
Armageddon. This relates the flowers to
the historical art tradition of using flowers
as symbols for mortality; the price of each
flower is displayed below the name suggest-
ing that even death is for sale.
her work, accents the shadows of the lines Judith Foosaner
and shapes that encompass the entire can- & Carlo Marcucci
vas. With her signature style, her new work Lora Schlesinger Santa Monica
continues to exude energy and fervor. The [through July 9]
East gallery will feature Wheatfields, wall-
mounted sculptures by Los Angeles based
artist Carlo Marcucci. The artist creates
smooth, minimal sculptures by mounting
dry pasta side by side in rows creating an
illusion of wood or mosaics. Some of the
sculptures are designed in multiple sections
and others include intersecting structures
made of transparent Plexiglas, changing the Carlo Marcucci, Wheatfields LXII (62), 2007,
udon noodles, squid ink spaghetti, regular spa-
nature of the pasta itself. ghetti, salmon spaghetti on plexiglas, 14.5x9x 4.
of statuesque abstract forms painted and Rachel Harrison
combined with ready-made objects. These Regen Projects Los Angeles
sculptures are complex amalgamations that [through July 10]
resemble monuments but are
completely non-referential.
The title (Asdfjkl;) describes
the standard placement of one's
fingers when typing. It is men-
tally tactile, as it speaks to the
moment when one is just about
to touch an object. The rapidly
changing relationship to writ-
ing produced by the aid of ma-
chines is central to this title. Rachel Harrison, Asdfjkl; (installation view). Courtesy Regen
Projects, Los Angeles. Photograph by Brian Forrest.
Exhibitions 47
 EXHIBITIONS
Lael Corbin
Luis De Jesus Santa Monica
[through June 26]
Lael Corbin, Brn-77, 2010, wood, glass,
shoes, audio and video recordings, 48x12x18.
Teo Gonzlez
Brian Gross San Francisco
[through July 3]
Teo Gonzalez, Untitled 593, 2010, acrylic on
canvas over board, 78 x 78.
Jeff Adams & Younhee Paik
Braunstein/Quay San Francisco
[through June 26]
Younhee Paik, St. Peter Rotunda, 2008, oil on
canvas, 50 x 54.
48 A|C|A June 2010
In this new show, Greetings from Earth, Lael
Corbin compels us again to redefine our
understanding and relationship to material
reality. Taking
his cues from the
space programs
of the late 1970s,
like NASAs Voy-
ager spacecraft
and its Golden
Record, Corbin
examines ideas
and ways in
which we might
communicate
with extrater-
restrial life. He
offers an instal-
lation of specific
images and objects that draw upon both
narrative and poetic relationships to lan-
guage, while evoking such notions as his-
These new minimalist paintings by the New
York artist Teo Gonzlez were achieved by
the artist methodically painting thousands
of tiny dots in loosely gridded arrange-
ments. Subtle variations in the size, den-
sity, and placement of the forms result in
shifting, dynamic compositions that engage
and captivate the viewer. The paintings on
view present a new direction in Gonzlezs
working method. Previously, the artist ap-
plied paint to the canvas in tiny droplets us-
ing an emulsion that forces the pigment to
the outer edge as it dries. Left behind were
In his recent paintings, Jeff Adams creates
levels of physicality by incorporating a va-
riety of mixed media onto his canvases, us-
ing everything from acrylic, oil, and jute,
to burlap, asphalt and plaster. However, his
is a "material with no implied or inferred
meanings." Instead, Adams' paintings high-
light the artist's interest in achieving a work
that is highly subjective. Viewers react to
his paintings with sensorial responses or
"the silence of an action" as Adams calls it
while others could feel they are devoid of
meaning. Adams builds upon the flat sur-
face of canvases that hinge on the nuances
of the figure and memories of landscapes,
tory, science, space, and time, as well as
play, curiosity, and wonder. Corbin has fre-
quently dealt with language through the use
of fable, allegory, narrative, and poetry, ex-
ploring how fictitious or inanimate objects
can convey precept or truth, and calling into
question the very materials and methodolo-
gies that form, what he calls, the multitude
of other conceptual frameworks that shape
our perception today. This has led him to
experiment with a broad range of methods
and unconventional materials, employing
a strategy in which research, building, and
manufacturing processes mix seamlessly
together with dream-like imagery, frag-
ments of information, syntax, memory, and
competing timelines. Stripped of a normal
context, objects and processes that, at first
glance may appear familiar, in the end force
us to question how these forms fit into our
larger consciousness.
ghost-like traces that call to mind various
natural forms, such as cells, stars, eyes, eggs,
and molecules. In his new works, Gonzalez
mimics the residual forms by painting the
shapes directly instead of using droplets
eliminating the element of chance inherent
in the dropping method and giving the art-
ist greater control of the creative process.
The result is vacillating abstract fields that
are at once meticulously precise and rhyth-
mically organic, possessing a vital energy
that gives them a life of their own.
and through varied brushwork and texture,
highlight action. Younhee Paik, an artist
participating in the ACCESS Program, de-
rives inspiration from nature and the con-
stant challenge of finding ones place in the
vastness of time, space, and beyond. "I try
to explore and express my ever expand-
ing perception of the relationship between
the physical and the spiritual," writes Paik.
Many of the images in her work are memo-
ries from her childhood in a Korean fish-
ing village: the waves of the ocean, ships on
the water, and stars at night. Floor plans of
cathedrals and the geometry of New York
high rises also play a role in her paintings.

Frederick Hayes' latest exhibition, Cityscape:
Drawings, Installation, and Painting, con-
tinues his exploration of African American
portraiture and urban landscape using char-
coal and paint. Hayes's exhibition takes the
viewer on a walk through his city albeit
a fictionalized city filled with faces both
known and unknown, billowing cloud for-
mations over geometric urban cityscapes,
and detailed brick facades of massive archi-
tecture. His subjects are never accidental,
but rather thoughtful and provocative, pro-
viding a rich portrait of urban life. "I have
an undeniable interest in portraiture, the
African American experience, the working
class, and the sort of learned approach to art
making that manifests itself in various guis-
es and disguises," says Hayes. Also on dis-
play is the work of artist Ernest Jolly, who
combines his musical background with vi-
sual artistry in unique ways. Jolly's explo-
ration of material and form is inspired by
Wonder Box, a solo show of Matthew Pal-
ladino's latest paintings, references a 19th
century viewing device that contained ex-
otic scenes that a small audience could see
through a peephole for a nominal fee. It is
in this vein that Palladino's new paintings
are presented, a contemporary peep show
where ideas of morality are disoriented and
reconfigured in a playful fashion. The pieces
lack any clear moral compass, causing the
This show includes a new installation, In-
verse Studies, featuring twenty-four oil and
encaustic paintings. They represent a depar-
ture from Amy Ellingsons established scale
(all works are 16 x 12 inches) and method-
ology of predetermining all elements of her
paintings via digital technology. The works
are indicative of a rediscovery and integra-
tion of a more intuitive painting method,
California Contemporart Art is a publication of
American Contemporary Art magazine.
EXHIBITIONS
social and eco- Frederick Hayes & Ernest Jolly
Patricia Sweetow San Francisco
logical issues.
His installa- [through June 26]
tions bring to-
gether sculp-
ture, sound,
and light, us-
ing common
building mate-
rials like con-
crete, wood,
and wire. In
Just Off Shore, (left) Frederick Hayes, Cedrick, 2009, acrylic on
canvas, 14 x 11. (right) Ernest Jolly, Alchemist
Ernest Jolly collaborates with M. Chris I (detail), 2010, mixed media, 46x117x46.
Evans, a cellist, who combined a variety of
sounds with Jolly's video projection of a Matthew Palladino
hazy coastline and foreground sculptures Baer Ridgway San Francisco
that suggest a pier and broken boat. The [through June 12]
combination creates a serene installation
that also alludes to the decay and aban-
donment of man-made materials.
viewer to investigate the images' ideologi-
cal content through the unique lens of their
own experience. The gallery door becomes
the hole and, once entered, the viewer is
within the Wonder Box for a peek at the
artist's distorted scenes of the erotic, spiri-
tual, and mundane. Not unlike a private
dancer at a peep show, these pieces, painted
up and protected by a layer of glass ask the
viewer to look, but don't touch. Matthew Palladino, The Rapture, 2010, acrylic
ink on paper, 49x 37.
contrasted with Ellingsons familiar geo- Amy Ellingson
metric module. In Summer Frieze, works Haines San Francisco
are presented in a linear installation, with [through July 10]
the paintings placed at irregular intervals
over a varying progression of laser-cut vi-
nyl elements, composed in situ. This layer-
ing beautifully highlights the juxtaposition
of colors employed in both the paintings
and the vinyls.
Amy Ellingson, Inverse Study #1, 2009, oil
and encaustic on panel, 16 x 12 x .875.
Courtesy of Haines Gallery, San Francisco.
Exhibitions 49
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SIREN: CAPTURING THE HUMAN
FORM EMERGED IN WATER by Mark Olival
Space intrigues me, says Christy Rog-
ers, My work is essentially a study in
the intricate nature of space and time.
For an artist, this makes for boundless
exploration. Her fluency in the language
of three dimensions is hardly a fluke. The
Los Angeles-based photographer began
her career as a filmmaker.
Over the course of vari-
ous avant-garde projects,
the self-taught artist in-
tensely pursued her ex-
ploration of the visual. In
photography, she found
her most facile means of
expression.
Her new collection,
Siren, praises the human
form in water, a motif as
magic as mermaids and
as primal as the womb.
Wrought from a mini-
malist palette, her figures
within a watery darkness,
at life-size, are deeply af-
fecting. Nude and half-
clad, the images of the
figures dazzlingly mix the
traditional and contem-
porary.
Deploying the dance
of human form with
textiles of cool warmth,
Rogers creates images
that are hypnotic in the
peace they induce. The
works are printed on cot-
ton archival matte, which
further diffuses details
already made smooth by the underwa-
ter shot. With gorgeous figures against
a background of black, the photographs
connote the best of oil painting. Those
versed in the western tradition cannot
help but see the iconic hands of Da Vinci
or the bold coloration of Michelangelo.
Here the obsessed leitmotif of Courbet
meets the glory of Delacroixs action.
Singular light worthy of Rembrandt illu-
mines each lone figure.
Born and raised on the Hawaiian island
Christy Rogers, Argentina, 35x46.
of Oahu, Christy Rogers frequented its
superlative beaches growing up, regularly
swimming in their turquoise and clear
waters. In L.A., I take a lot of baths, she
quips when asked how shes made the
transition to urban life. When I come
EXHIBITIONS
ARTISTS
Christy Rogers
back to the Islands, the first thing I do is
dive into the ocean. It rejuvenates me."
As viewers, we share that eureka mo-
ment of hers the ecstasy of that first dive
back into the ocean. Toward that end, it is
the naked shot itself that is of paramount
design. What she sees is what you get
the images have not been
digitally manipulated at
all. The catching of genu-
ine ephemera gives these
images their cachet. I am
obsessed, she says with
the beauty of imperfec-
tion and the drama of hu-
man passion. Her photos
say nothing less.
Raised in a family of mu-
sicians and artists, Chris-
ty Rogers is also a poet,
filmmaker, and musician.
Her newest project, Od-
yssey, which she has been
working on since the be-
ginning of the year, will
showcase these disparate
interests. A massive un-
dertaking comprised of
over a hundred life-sized
images in concert with
experimental video, the
work-in-progress will al-
low the viewer to experi-
ence that which had pre-
viously only been allowed
Odysseus, the opportu-
nity to marvel at the song
of the Siren.
Siren is currently represented at Laura
Rathe Fine Art in Houston, Texas; South
Street Gallery in Honolulu, Hawaii; and
Blackman Cruz in Hollywood, California.
For information, visit christyrogers.com.
Artists 53
 ARTISTS
Angela Lynthia Ellefson
EMBRACING THE CHAOS OF THE UNCONSCIOUS
Angela Lynthia Ellefson: (above) Under The
Sea; (right page) Solar Plexus. Both works:
2010, black ink on acrylic paper, 12x9.
Im an artist that is heavily influenced
by psychological thought and theories,
especially those of Carl Jung. I define
my artwork as,The Art of Chaos, an
art process which is derived through an
implementation of my beliefs, wherein
the objective is to produce art that has no
conscious beginning, but achieves dis-
tinctive end results. In theory, Chaos
makes no predictions and appears as a
state of disorder, making it very sensitive
to its initial conditions. In other words, a
number of variations in the initial condi-
tion produces a chaotic dynamic system
that leads to even larger variations in
subsequent behaviors. Art, on the other
hand, is the process of deliberately or
inadvertently arranging elements and
objects in a way that affects our subcon-
scious or unconscious mind.
The unconscious is the area of mind that
stores collected information that has been
repressed and is not easily brought to our
awareness. These repressed memories
can be episodes of trauma, or even sim-
ple thought patterns, desires, and sense
impressions that remain far below the
accessible surface. They are in essence,
inaccessible without psychoanalysis, but
can drive and control the conscious mind
through artistic forms of expression. It is
54 A|C|A June 2010
believed that a thought derived in a state
of consciousness is protected by our egos.
Jung views the ego as our sense of self and
how we portray ourselves to the world.
Our egos put limitations on our real self,
which only emerges in dreams. This is
a time when our unconscious mind lets
go of the ideals and defense mechanisms
that we hold to protect us from those
things we feel make us vulnerable and
afraid.
Jung believed that all things can be
viewed as binaries, such as, good/evil,
male/female, love/hate, and black/white.
Working in opposition to the ego, is the
"counter-ego," or what he refers to as the
shadow. The shadow represents the re-
jected aspects of ourselves, those things
we do not wish to acknowledge. It is here,
In Shadows, that I wish to create. Us-
ing Black and White, I strip down the Chaos, reality is lost in a dream. It is here
egos illusions of self to a primitive state.
Using variations of color would be my
egos role of manipulating the artwork
and thus creating an illusion of self, or an
ideal of what art should be - an imita-
tion of life. The end result of such think-
ing is a world of art that is merely a slight
misrepresentation of another. To stifle
the egos influence is to unleash the un-
conscious mind, allowing pure thoughts
to emerge, thoughts that affect art in a
way that has not been brought to light but
merely lingered below the surface waiting
to be harvested by our dreams.
According to Jung, dreams are a way of
communicating and acquainting yourself
with the unconscious. Dreams are not at-
tempts to conceal your true feelings from
the waking mind, but rather they are a
window to your unconscious. They serve
to guide the waking self to achieve whole-
ness and offer a solution to the problems
that arise. Dreams shift and sway in a way
that is not completely controlled by our
conscious mind, revealing strange ar-
chetypes and metaphors in place of con-
scious thoughts.
Nietzsche said, "You must have Chaos
within you to give birth to a dancing
star. I create Chaos when I approach a
blank canvas with a clear mind, when my
only intentions are to unleash movement.
Through this process, I gain the freedom
thats lost within an immediate objective,
and I find that my hands will solve a mys-
tery that my intellect has struggled with
in vain. By avoiding the path, but going
instead where there is none, and then
leaving a trail is one way to produce art
that is different, that is personal; art that
reveals a true sense of self in every piece.
Franoise Sagan once said, Art must take
reality by surprise. Through the Art of
that we can float, where we can escape
the constraints of the world, bypass no-
tions of rhyme and reason. My art is filled
with archetypes, subconscious omissions,
shifting realms of terror and confusion.
As shapes progress across the canvas, and
the lines collide with one another, just
like a dream, awareness brings revelations
that have been waiting to emerge. Before
long, faces, places, things form from the
shadows to reveal a subconscious pro-
gression of thoughts. Upon a closer look,
one can see there is order in chaos, there
is beauty in the mundane. Ultimately, the
artist is not a person endowed with free
will who seeks his own ends, but one who
allows art to realize its purpose within
themselves.
For more information about
Angela Lynthia Ellefson, visit
raisedinblack.com.
 ARTISTS
Jaime Scholnick
IN HER OWN WORDS
This latest series is a return to sculp-
ture while exploring my obsession with
line and love of drawing. The Styrofoam
pieces in their original shapes (no cut-
ting involved) dictate the design. It taps
into a subconscious, spontaneous way of
working that is devoid of the prior, self-
conscious need to tackle big issues didac-
tically. I feel that not being so obvious in
meaning (as in my past series) makes this
work stronger. This material was once
debris, cushioning the far superior item
that was desired. Here, the roles have
been reversed, elevating this material to
56 A|C|A June 2010
Jaime Scholnick:
(left) 2 Towers, 2009,
styrofoam, black
gesso, acrylic paint,
62x24x9.
(right) PS: Red Cross,
2009, styrofoam,
gesso, acrylic paint,
22x10.5x 8
"Art" while the initial object it held has or
eventually will become the refuse.
This desire to push my work to new
levels energizes me. I think it was De
Kooning who emphasized that it is para-
mount for an artist to reinvent herself
over and over again to keep it fresh. The
present work feels familiar but isn't. Cer-
tainly there are the obvious references to
Dubuffet or any number of artists that
have used Styrofoam. At the same time
the work is unlike anything that has pre-
ceded it. Some pieces are architectural
but that isn't my focus either. There is a
desire to transform the refuse and not
simply use it as found. The Duchampian
ideal "any object becomes art because I
say so" is an outdated paradigm.
I am always most satisfied with work
that is open-ended allowing the viewer
to make their own comparisons and nar-
rative meanings. If contemporary art re-
flects current dialogues then the very use
of this material as the inception for the
creative work encompasses a full spec-
trum of ideas and beliefs that I hold.
Jaime Scholnick is represented by CB1
Gallery in Los Angeles. For more infor-
mation, visit cb1gallery.com.
 4TH DIM3NSION
PRESENTS
I N T H E S H A D OW S

ANGELA LYNTHIA ELLEFSON

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