Continuing my series of posts on collage art: Here's Cless, who at times also incorporates other media than just photographs or cutouts.
Beverly Hills
- ACE Gallery
- Benjamin Trigano Gallery
- Gagosian Gallery
- Kopeikin Gallery
- M+B
- Michael Kohn Gallery
- Regen Projects
- The Conference Room
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Chinatown
- 2nd Cannons Gallery
- acuna-hansen gallery RIP
- abacot gallery
- Black Dragon Society RIP
- Bonelli Contemporary
- China Art Objects Galleries
- Chung King Project
- Cottage Home
- Daniel Hug RIP
- David Patton Los Angeles RIP
- David Salow Gallery
- Fringe Exhibitions
- High Energy Constructs RIP
- Jack Hanley Gallery RIP
- JAIL
- Mandarin Gallery
- Mary Goldman Gallery RIP
- Mesler&Hug
- Parker Jones
- Peres Projects
- Redling Fine Art
- Sam Lee Gallery
- Sister
- SolwayJones
- Telic Arts Exchange
- THE BOX
- The Company
- The Happy Lion
- Trudi RIP
- Young Art Gallery
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Culver City
- angstrom gallery
- Anna Helwing Gallery RIP
- Bandini Art Gallery RIP
- Billy Shire Fine Arts
- BLK/MRKT RIP
- Blum & Poe
- cherry and martin
- Cardwell Jimmerson
- Cerasoli Gallery RIP
- Cerasoli:LeBasse Gallery RIP
- Corey Helford Gallery
- CRAIG
- David Gallery RIP
- David Kordansky Gallery
- d.e.n. contemporary art RIP
- fette's gallery RIP
- Honor Fraser
- Indie Collective
- Kinkead Contemporary
- Kinsey/DesForges RIP
- Koplin Del Rio
- Kim Light / Lightbox
- LAXART
- Lizabeth Oliveria RIP
- MC RIP
- Nicodim Gallery
- Norma Desmond Productions RIP
- Overtones Gallery
- Peres Projects
- POP Gallery
- project: RIP
- Roberts & Tilton
- Royal/T
- Sandroni.Rey
- Scion Installation LA
- sixspace RIP
- Taylor De Cordoba
- The Constant Gallery
- Susanne Vielmetter Los Angeles Projects
- The Lab101 RIP
- The Museum of Jurassic Technology
- Walter Maciel Gallery
- Western Project
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Downtown
- bank
- Bert Green Fine Art
- Cirrus Gallery
- compactspace
- Crewest Gallery
- Dangerous Curve RIP
- FIVE THIRTY THREE
- I-5 Gallery at the Brewery
- INMO Gallery RIP
- Morono Kiang Gallery
- Raid Projects
- Switch Art Gallery
- Tarryn Teresa Gallery
- The Treehouse Gallery RIP
- Unitard RIP
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Hollywood
- ACP (Artist Curated Projects)
- C4 Center for Contemporary Art
- Eighth Veil
- LACE
- Michael Benevento
- Overduin and Kite
- Synchronicity
- Subliminal Projects
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La Brea / West Hollywood
- Circus Gallery
- Fahey/Klein Gallery
- glü gallery
- Khastoo Gallery
- Heavyweight Gallery
- Merry Karnowsky Gallery
- New Image Art Gallery
- SCALO | GUYE
- South La Brea Gallery
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Mid-Wilshire
- 1301PE
- ACME
- Angela Hanley RIP
- Carl Berg Gallery
- Concrete Walls Gallery
- Crisp London Los Angeles
- Hammer Museum
- Karyn Lovegrove Gallery
- LACMA
- Marc Foxx
- PawnShop Gallery RIP
- Steve Turner Contemporary
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NELA
- Another Year in LA
- Apartment 2
- Drkrm
- Glendale College Art Gallery
- Kristi Engle Gallery
- LittleBird Gallery
- Me & You Variety Candy Los Angeles
- Monte Vista
- Outpost for Contemporary Art
- Shotgun Space RIP
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Santa Monica
- Angles Gallery
- GR2
- Christopher Grimes Gallery
- Craig Krull Gallery
- James Gray Gallery
- Mark Moore Gallery
- Patricia Correia Gallery
- Patricia Faure Gallery
- Patrick Painter Gallery
- Richard Heller Gallery
- Robert Berman Gallery
- Rose Gallery
- Ruth Bachofner Gallery
- Rosamund Felsen Gallery
- See Line Gallery
- Shoshana Wayne Gallery
- Track16 Gallery
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Silver Lake
- Chime and Co.
- Found Gallery
- Gallery Revisited RIP
- GarageGallery
- Ghettogloss Gallery
- Hope Gallery
- Junc Gallery
- Justin's Museum of Contemporary Art
- Kreiling &
- LA Municipal Gallery
- Light & Wire Gallery
- Little Bird Gallery
- Machine Project
- Materials & Applications
- Thinkspace
- Secret Headquarters
- siteLA
- Subiminal Projects
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Venice
- Commissary Arts
- LA Louver
- The Balmoral RIP
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Check out this post:
http://flavorwire.com/151458/desks-of-the-rich-and-famous-workspaces-of-highly-creative-people
Sent from Electronic Wizardry.
L.A. Expanded: Notes from the West Coast
A weekly column by Catherine Wagley
Julio Le Parc, Lumiére en mouvement-installation, 1962/re-fabricated 2010, painted drywall, mirrors, stainless steel, nylon thread, and two spotlights, 42 ft. 5 in. x 16 ft. 10 in. x 16 ft., collection of the artist, photo by Iwan Baan.
When Light and Space sculptor James Turrell installed one of his light tunnels at the Whitney Museum in 1982, a woman leaned against a wall she thought she saw, fell and broke her wrist. She happened to be the wife of the Oregon State Supreme Court Chief Justice, and subsequently sued the museum. Her testimony: "It was a receding wall, I leaned against it, and it wasn't there." Turrell retells this story often, and, when he does, he sounds insightful while the woman sounds silly—entitled, and perhaps a bit of a fine art philistine (reported the BBC, "Whilst concerned for her safety, Turrell has recalled her testimony with a smirk"). And even if suing a museum over an art work that did what it was supposed to—toyed with perception—does seem like irrational vengeance-seeking, there is something genuinely ominous about art that can trick you so effectively. It plays God, and makes you feel like a passive participant. "I don't function in the same situation as the general public," Turrell has said. "I am the maker not the observer."
Even before Turrell and a handful of other young American artists started experimenting with light, a number of artists from Latin America had already begun to do so, some working out of the US or Europe. Their work has been far less prominently exhibited in the states, and some has not been shown at all. Now, five installations by Latin American Light and Space artist are featured in a surprisingly low-key, charming exhibition at MOCA.
Carlos Cruz-Diez, Cromosaturación, 1965/re-fabricated 2010, painted drywall, fluorescent lights, and colored plastic, 155 15/16 x 603 15/16 x 291 5/16 in., collection of Carlos Cruz-Diez, photo by Iwan Baan.
Suprasensorial: Experiments in Light, Color, and Space includes only six artists, two of whom worked as a team (and it may be the first MOCA show in years that hasn't been annoyingly overhung): Carlos Cruz Diez, Lucio Fontana, Julio Le Parc, Hélio Oiticica and Neville D'Almeida, and Jesús Rafael Soto.
Walking through Suprasensorial, you feel not that you are being awed, but that you are participating in a certain science-fair-style awe about the way light works. If you enter through the second door, the first piece you'll encounter is Rafael Soto's Penétrable BBL bleu, a sea of hanging rubber cords that resist your body weight as you push through them. Then there's Carlos Cruz-Diez's Cromosaturación, a series of fluorescent colored rooms you can see into but not out of–when I was in the green room, a child's winter coat had been abandoned on the floor; it shouldn't have been there, of course, but it made the space feel lived-in, communal rather than austere.
Hélio Oiticica and Neville D'Almeida, Cosmococa-Programa in Progress, CC4 Nocagions, 1973/re-fabricated 2010, water, pool, electric lights, projected images, sound, and paint, 24 ft. 7 1/4 in. x 45 ft. 1 5/16 in., Projeto Hélio Oiticica, Rio de Janeiro. photo by Iwan Baan.
It's Hélio Oiticica's and Neville D'Almeida's Cosmococa-Programa in Progress, CC4 Nocagions that has received the most press since the exhibition opened, and understandably. They've made a swimming pool for a museum, and those who choose to climb in (you can buy swim wear in the gift shop and there's a line of changing rooms and lockers outside the installation) listen to John Cage and, as they float, watch a looping slideshow of Cage's music notations covered in drawings made with lines of cocaine. " The water removes uncertainty," D'Almeida told MOCA curator Alma Ruiz.
But my favorite work in the exhibition remains Julio Le Parc Lumiére en mouvement-installation. It reminds me of a West Hollywood hotel lobby, pretty, certainly, but glitzy in an almost commercial way. I imagine an exuberantly costumed, intermittently morose and enthusiastic Ariel Pink performing Round and Round inside Parc's reflective. It'd be swank, melancholic, ephemeral and kitschy all at once. In other words, perfect.
