The artists included in Grafforists inherently deal with the realization of painting as a performative existential act. The very making of the paintings that they create become signifiers of their own mortality, or at least the object which rejects it. For when an artist dies, this is what we are left with—their thoughts and their bodily movements, body and mind together, making decisions that reflect their concerns, personality, thoughts, memories and desires. What more could we ask for, both as artists leaving something behind in our wake and as viewers allowed the intimacy of this connection to another person?
WITH A LITTLE HELP FROM MY FRIENDS
Los Angeles artist Carl Berg has asked over one hundred artists, curators, critics, collectors, family and friends, whom he calls his “collaborators”, to name their favorite music album. From this list Berg has created over one hundred works using various imaging software programs visually abstracting lyrics and/or music that are then printed as archival inkjet prints. He describes this process as “painting with symbols”. The works are then mounted on a panel and are approximately the size of an LP album cover.
April 12 - May 28
Coordinated as a collaboration between German curators Dr. Julia-Constance Dissel and Sandra Mann, Los Angeles-based curator Ichiro Irie and Max Presneill, this exhibition explores similarities of practices that occur within globally expansive yet hyper-connected art production. Taking as its starting point similar thematics and/or formal artistic investigations (technique, material, methodologies, etc.) Doppelgänger reflects on similarity as a tool to investigate both the hyper-connectivity that exchanges issues, trends and impulses on global scale as well as the simultaneity of expression that it engenders. In this way, the curators engage the capacity of art's function as a seismograph for sociological development.
The first US solo exhibition of the works of Yaşam Şaşmazer. Yaşam is a Turkish artist living and working in Berlin. Her work has been shown in Berlin, Dubai, Istanbul, London and Seoul and has been featured in exhibitions at Saatchi Gallery, London; CerModern, Ankara; Gdańska Galeria Miejska, Gdansk; and Galerie Terminus, Munich, among others. Şaşmazer has been also been included in international biennials in China, Italy and Sweden.
An international curatorial initiative acting with a global network of cultural institutions to bring a wide range of video projects to international spaces and festivals. It is created and curated by Wilfred Agricola de Cologne. The screening project encompasses five programs of audio-visual art prepared by artvideoKOELN exploring an explosive topic endangering the human species.
January 16 - March 12
The curators, Max Presneill and Ashley Garrett, approached eleven emerging and experimental art spaces in the New York area and asked the curators of these spaces to nominate fourteen emerging New York artists. These fourteen New Yorkers then chose fourteen corresponding Los Angeles artists whose work spoke to, inspired and/or informed their own practices.
Taking as its point of departure the historic competition between the East and West coasts, Sibling Rivalries transforms the traditional, ‘competitive’ understanding of the term. In this exhibition, ‘rivalry’ expands to encompass a dynamic interaction between art practices occurring in the two primary art and culture production centers of the United States. This exhibition sees the dynamic tension of East Coast, West Coast rivalry as a productive form capable of illuminating contrasting approaches to mutual concerns.
November 14th-December 11th
Gallery One & Two
South Bay Focus 2015
South Bay Focus is Torrance Art Museum’s annual Contemporary and Traditional Juried art exhibition. The 2015 South Bay Focus is presented in conjunction with the Torrance Artists Guild and the South Bay Watercolor Society and is open to all artists living or working in the South Bay, San Pedro and Long Beach. This year's Juror is Maurizzio Hector Pineda, Assistant Curator of the Torrance Art Museum.
The 3rd SUR:biennial will take place at four venues in Los Angeles: Torrance Art Museum, Manhattan Beach Art Center, Rio Hondo College Art Gallery, and Cerritos College Art Gallery. In addition to the four main gallery exhibitions, the organizing institutions will host a series of panels, performances, and events in conjunction with this year’s biennial.The biennial will showcase recent works of local and international artists who have been influenced by the cultures and artistic traditions of Mexico and Central and South America. Unlike many recent exhibitions of Latino/a, Mexican, Mexican-American, or Chicano/a art, the SUR:biennial seeks to explore notions of globalization and exchange that take place in the ambiguous geographical, cultural, and artistic borderlands between Los Angeles and “the South,” regardless of the artist’s nationality. Artists confirmed for the 3rd SUR:biennial are Ismael de Anda III, Juliane Backmann, Juan Bastardo, Guillermo Bert, Daniela Campins, Carolyn Castano, Anibal Catalan, Beatriz Cortez, CUBO (Jennifer Donovan, Gabriela Torres Olivares, Nina Waisman, Flora Wiegmann, and PD programming by Marius Schebella), Carribean Fragoza, Ed Gomez, Romeo Guzmán, Lorenzo Hurtado Segovia, Daniel Lara, Patrick Martinez, Rebeca Méndez, Gerardo Monterrubio, El Nopal Press, Jimena Sarno, Francesco Siqueiros, and Eloy Torrez..Curators James MacDevitt, Robert Miller, Esmeralda Montes, and Max Presneill carefully selected venues not only on the east side of Los Angeles where Latino/a culture has historically flourished, but in the South Bay and coastal communities, which have not been typical spaces for the display of Latino/a art. This year’s program will incorporate a range of artistic forms – sculpture, painting, craft, new media, and performance – all of which demand a shift in the viewers’ perception of the “SUR.”
States of Being
The Torrance Art Museum presents States of Being, an exhibition curated by Julia Schwartz that philosophically explores how nine artists construct meaning through use of various materials.
The phrase states of being can reference many different physical and psychological properties. However, these international artists – Valerie Brennan, Rebecca Campbell, Lucy Mink, Mira Gerard, David McDonald, Jennifer Wynne Reeves, Julia Schwartz, Sabine Tress, and Julie Torres – are united in their desire to interpret their world in particular and specific terms. Each identifies a particular state of being as essential when creating their work, whether it be painting, drawing, or sculpture. Their state of being is not necessarily reflective of a state of mind. Instead, these artworks reveal how the artists find or expose themselves at any given point in time – as mothers, fathers, women, men, artists, survivors, traumatized souls, and human beings.
The Studio System Experimental Residency project was a unique attempt to bridge the gap between artistic practice and the public. By opening up the processes and methodologies of a studio-based approach to the engagement of a wider audience, we have set the stage for you to see 'behind the scenes' as it were. Visitor, has direct interaction with the artists to discuss inspirations, sources, thoughts, feelings, content and context as well as chart the progression through the works over the period of 29 days that the project encompasses.
This continues the TAM's dedication to exploring new ways of understanding and engaging with the art of our time and those that produce it.
We thank these artists, from Torrance, Los Angeles, San Diego and San Francisco, for their openness and generosity in committing to this unusual
presentation: Sydney Croskery, Elizabeth Dorbad, Nancy Evans, Josh Hagler, Seth Kaufman, Hung Viet Nguyen, Don Porcella, Dickson Schneider, Mariangeles Soto-Diaz, Vincent Tomczyk and Valerie Wilcox.
KAY WHITNEY ; .... a deceit
All art is basically a kind of deceit - it proposes alternatives for reality, utopian choices that bear little potential for probability. This kind of deceit is harmless; art represents a little white lie that contains maximum imaginative potential, creating its own belief environment; a fantasy with tangible elements. I’m making multiple Pinocchio’s, each piece tweaking reality, lying just a little, each piece growing its own long nose. I leave the multiple layers of my work exposed in a series of sections that can be freely connected without imposing a ‘closed’ reading or experience. I generate my sculptures, drawings and collages using something like a musical score - a score that involves sequences, folding, splicing, notation, accumulation and aggregation. Each time the pieces are displayed they are different; between one showing and the next sections stretch out and wrinkle, alignments shift, different stresses show up. I work with a number of references; the intimate and the distant, the machine and the body, the natural and the synthetic, the idea that nothing is fixed in how we perceive or interpret. I deliberately chose materials that are the conceptual opposite of the images they serve.
I’m dealing with ideas about indeterminacy, flexibility, and the possibility of continuous transformation. The result is a body of work that creates otherworldly environments, invented topographies and seemingly organic structures from inorganic materials. The scale of my work is always in relation to the human body. I also think about the experience of my work as being theatrical. The placement of the work in a space, how it is lit, and the amount of surrounding space are all calculated. Because the surfaces of my work shift and follow the perspective of the viewer, there is a perceptual change that coincides with a person’s physical movement within the gallery space.
Sean C. Flaherty
Nikki S. Lee
Joshua Mark Logan
Curated by Chris Reynolds
Second Sight refers to the apparent power to perceive things that are not present to the senses. Conversely, this term is also adopted by theorist Roland Barthes in his criticism and theorization on photography, Camera Lucida: Reflections on Photography. Barthes states that the “photographer's 'second sight' does not consist in 'seeing' but in being there”. Second Sight: New Representations in Photography ventures beyond our preconceived perceptions of what is and what is not photography today. Whether they investigate photographic image-making as object, history, truth, or trompe l'oeil, these artists challenge, push, and ultimately expand upon the lexicon of photography.
UK artist, influential educator and cult musician.
January 17th - March 7th, 2015
Is there a current resurgence in the notion of the Romantic in contemporary painting today and if so how is it related to bygone versions, how is it different and where is it coming from?
The American West has been the site of assessment and reassessment by artists since before it was called "Old" and continues to exert an influence on the art of our own day. From concerns with individualism to the direction of the Nation, Manifest Destiny to ecological issues, from pop references to the historicized Western genre itself, we can trace ideas about ourselves and the notion of America through the glass of the West.
THE DARKROOM PRESENTS:
Video+Sound Art Exhibition
Danielle de Picciotto and Alex Hacke
Sam Marlow and Alon Cohen
Nicole Antebi and Laura Ortman
Kitzinger Gabor and Alex Hamadey
Shir Lieberman, Jonathan Phelps and Fabio Fonda
Curated by Leo Kuelbs and Karl Erickson
NOVEMBER 8TH - DECEMBER 5TH, 2014
South Bay Focus is Torrance Art Museum’s annual Contemporary and Traditional Juried art exhibition. The 2014 South Bay Focus is presented in conjunction with the Torrance Artists Guild and the South Bay Watercolor Society. This year's Juror is Scott Canty, Director and Curator of the Los Angeles Municipal Art Gallery.
CologneOFF X is standing under the theme of “Total Art”, showing video as a multi-faceted artistic audio-visual medium, which is executed solely by its creator or a group of collaborating artists, including filming, cutting, editing, composing, post-production, etc., thus the whole creation in one single hand.
Curated by Lisa DeSmidt, Max Presneill, and Chris Reynolds
Shiva Aliabadi, Tanya Batura, Joshua Callaghan, Michelle Carla Handel, Mary Hill, Anna Sew Hoy, Ashley Landrum, Andrew Lewicki, Christopher Miles, Marco Rios, Noah Thomas, Shirley Tse, Torbjorn Vejvi, Eve Wood
Robin Jiro Margerin
This exhibition is a collective exhibition project, bringing together new works by Parisian artists.
TIME is Love Screening is a roving international video art program on the theme of love in hard times.
Since 2008 the project has been exploring forms of artistic expression rising from society and the new media's use of technology.
Ricardo Alcaide, Emilia Azcarate, Juan Pablo Garza Romero, Jaime Gili, Dulce Gómez, Esperanza Mayobre, Ana Maria Mazzei, Teresa Mulet, Susana Reisman, Luis Romero, Fabian Salazar
June 7 - July 26, 2014
This exhibition examines the relationship between the notion of the ‘Flâneur’ and the City ‘dérive’ under the pressure of being watched via CCTV cameras and monitoring. How does one engage with the disinterested observations of the wandering eye when self-consciousness about being both the observer and the observed interfere with the experience?
179 Easy Steps to a Masterpiece is the answer to every aspiring artist's questions. An easy How to…like Painting for Dummies. However the 179 easy steps might not be so easy after all and the more you get into the work the more irrational it seems to become...
The Darkroom Presents
This installation is the third part of a multi-phase project that started in the summer of 2011. It began with the launch of a website to collect stories about a friend, Matt Winthrop, who had passed away the prior year. The website contained a built in audio recorder, enabling people to speak privately and tell their story of Matt. Since stories become the record of our existence, the idea was that through these stories a stranger could get an understanding of a person they had never met.
Cartographia: Artifacts of a Creative Journey
Curated by James Scarborough
This exhibition proposes that artists are mapmakers, their works, maps, and their audience, orienteers. It also suggests a correlation between its content and form. If maps and mapping strategies are the content, then a virtual exhibition is its form. What is web surfing and its clickstream but synonyms for the mapping of a journey through the digital landscape?
March 29 - May 15, 2014
Prep School: Preppers & Survivalist Ideologies and Utopian/Dystopian Visions
Curated by Max Presneill and Lisa DeSmidt
Over the last decade there has been a snowball of factors that have contributed to this exhibition. They range from popular culture to interpretations of the Constitution.
There are divisions in our society that strain the notion of an encompassing nation that the USA wants to see reflected in the mirror. But as political partisanship affects the ability of the Government to work we can also identify the role of blogging, of grass-roots ‘base’ politics, religious disagreements and political fear-mongering, ethnic mistrust and class disparities - all combining to test the ideals of the great mixing pot and to push at the normal parameters of society’s bonds. When the belief and trust of the citizens of a nation falter we see suspicion and isolationist tendencies arise. The apocalyptic then taints all aspects of our culture.
The increased perception that we all need to be ready for disaster, at all times, has found its way out of the paranoid fringes and into the mainstream, thanks to the televised realities of the aftermath of disasters, 9/11 and Hurricane Katrina in particular, as well as in popular culture such as the zombie genre.
A ‘feedback loop’ can be inadvertently created by which the views and inclinations of the citizenry can be mutated by the social rhetoric, gaining ground and encouraging extreme positions, the radicals shouting the loudest, the fostering of fear as a way of existing. Our hope is that this exhibition will turn the spotlight on to these ways of thinking and question their validity, re-question our own positions and biases, and let these artists provoke a set of reactions for us that lead to shifts in our own attempts to rebalance how we interact with others and view our role in society and what that society deserves from us. (Max Presneill)