S H A N N O N E B N E R
Kaufmann Repetto, Milan, now.

when language fails.

Images point to what is in the world; that is the problem with representation. I think that is why there has been so much activity around abstraction—it offers one possible way around the problem of pictures. I am looking for a way out of the problems of representation but I am not satisfied to leave the world of representation all together. I am somehow looking to stay in the world of depictive images by simply asking for more from them through developing a different system, idea or model of how they might function.


–Shannon Ebner, October 2009

Los Angeles artist, Shannon Ebner, now showing in Italy. To those that are new to her work, go here, to take a look.

Seriously looking forward to more work in the future.....





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"Over the past five years, Ebner has mined the porous territory of language by photographing words and letters that she both finds and makes in environments ranging from the landscape around Los Angeles to the space of the artist's studio.

In more recent photographic works, Ebner seeks to broaden her investigation of language to include the linguistic potential of the photograph itself, moving away from photographing politically charged words and phrases towards the construction of a mercurial visual system that includes images, objects, wallpaper applications of text phrases and videos.

In a broad sense, Ebner's work can be seen as an ongoing investigation of visual and photographic semiotics that relies on depiction while also rejecting the notion that a photograph must be exactly or only what we say it is and in turn what it depicts."

Shannon Ebner,
born in Englewood, NJ, in 1971, lives /works in Los Angeles






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S H A N N O N E B N E R
Kaufmann Repetto, Milan, now.

when language fails.

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Matthew Monahan
new work, Anton Kern Gallery. Nov 5 - Dec 23












Maurizio :You mentioned you have rules in the studio.

Matthew: No use of photography, no projections, no mannequins, no live models, no body casts, no ready-mades, no fabricators and no source material.

I am pretty dogmatic about this. When I stared with figurative work in 1995 it was so hard to concentrate I had to make sure I had no short cuts out of it. It seemed like an ‘anything goes’ time in art and I felt that I had effectively dropped out. Charcoal drawing? How uncool is that? I just wanted see something that only I could make, and I thought I could find it somewhere in the face and in the body. If you fix the rules and the subject matter, you can really concentrate on the development of style, and by style I don’t mean fashion, I mean it like Barthes when he called style that “lonely and vertical dimension of thought, the product of a thrust and not an intention.” The loneliness could have been too much but I was in a kind of gang with two other artists, Tom Houseago and Micheal Kirkham.

We called ourselves “the crows,” and we really stuck to this dogma and supported each other in our new figurative adventure. Otherwise I think it would have been impossible.




(pulled from an interview with Matthew Monahan and Maurizio Cattelan..)
1972 Born in Eureka Lives and works in Los Angeles

















Matthew Monahan’s work presents a futuristic archaeology. Drawing from a wide range of influences, from Modernist art to ancient totems, Monahan’s ‘artefacts’ are both familiar and strange.

Filtering historical mythologies through his own personal system of reference, altered further through the experience of making, Monahan’s work alludes to a contemporary spirituality, where beauty and brutality coalesce as virtual monuments.


(text taken from here.)






Matthew Monahan
new work, Anton Kern Gallery. Nov 5 - Dec 23








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H O U S E (s)
L O S A N G E L E S


Do we stand in the calm center of this hurricane of modern life,
or do we step into its turbulence?

Exploring themes of urban isolation and emotional alienation, "House" is a slow moving film that plays with memory and temporality.

1. Doug Aitken, House, Regen Projects, opening Nov 11, Los Angeles
2. Old House, via Galerie Half, on Melrose, Los Angeles, California. If you haven't been, you need to run to Galerie Half. Truly, one of the more inspiring stores in Los Angeles.





"House" depicts a couple stoically seated at a table in a residential home. Facing one another, their gaze locked, debris and fragments of the house fall around them. The two protagonists remain untouched as the house crumbles and disappears, leaving only the demarcation of its shape in an empty lot that fades in the closing scene.

Throughout the film, the apparatus of destruction is never shown. These devices become part of the film's expanded narrative, implicating what happens outside the framed image. "House" is exhibited as an installation shown on double monitors set in the midst of rubble and detritus. The spectator views the film surrounded by remains, becoming immersed in the fragments of what was once a home.








H O U S E (s)
L O S A N G E L E S








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interiors riddling with art
Let's live among history, if only for tonight .









Nothing beats an interior filled with art that commands the space. Personally, living with art & antiques is a top priority. Mindless flipping through the internet this morning produced this top image of a casual loft space.
















It always shocks me into a delightful frenzy when I see important sculpture being used in interiors. It's a gamble for sure, but a gamble that we should be willing to take. Thomas Houseago is a Los Angeles sculptor that has deservedly been getting attention for many years now. His earlier shows at David Kordansky (2008) were hunks of material mutated into forms that were hard to ignore. I admit, they kinda left me weak at the knees. Has he left David Kordansky for another L.A. gallery (he seems to be missing from the roster.) ? His recent show in New York at Michael Werner, "the Moon, the Stars, the Sun" can be seen here...

bottle head, from recent show at Michael Werner
Tuf-Cal, hemp, iron rebar

"Thomas Houseago’s figurative sculptures appear physically imposing and powerful in their size and positioning yet fragmented and vulnerable in their construction. To build these works, Houseago begins with a structure of iron rods and then adds a variety of traditional sculptural materials such as plaster, hemp, and wood. Some of his works incorporate graphite or charcoal sketches of faces and anatomy on plaster and wood panels. Monstrous yet unthreatening, this work— a part-human, part-animal being—is in a transitional pose between walking and crawling, weighted on the flat expanses of its plaster hands and feet. Houseago’s combination of sculpting and drawing challenges conventional aesthetic boundaries between three-dimensionality and flatness, monumentality and spontaneity. For the artist, Baby represents a hopeful “beginning,” one that nods affectionately to the riddle about the lifecycle of humans that the Sphinx posed to Oedipus: “What goes on four legs in the morning, on two legs at noon, and on three legs in the evening?”

taken from whitney site here..




interiors riddling with art
Let's live among history, if only for tonight .

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melissa
manfull,
pattern
constraints

MELISSA MANFULL:
Pattern Constraints

September 18 – October 23, 2010

"Seeking inspiration from metaphysics and mysticism, Melissa Manfull creates hyper-detailed structures that straddle the worlds of reality and imagination. Working in a palette that ranges from the subdued and earthy to the mystical and otherworldly, Manfull inserts her stiff geometric shapes within pools of bleeding ink. Thus bringing to mind the idea of a building’s lost limb, detached and floating in space.

The artist’s interest in utopian societies and the ways in which architecture can reflect belief systems inspired these organic yet repetitive drawings. And in some ways, the resulting structures, created by fractal patterning, reflect the artist’s personal understanding of the intricate workings of the universe and the mind. Due to the obsessive nature of her process, Manfull has often viewed the meditative act of drawing as a way to approach her fear of vast, open ended space (the unknown). By creating her minute sculptural drawings, she gives this abyss a meaning and in essence, gains control. With her amorphous ink stains, she tries to mimic this emptiness rather than flight it."

melissa manfull,
pattern constraints

at taylor de cordoba,
culver city, los angeles

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3 L.A.
shows
opening
this weekend.
















































3 L.A.
shows
opening
this weekend.

Gonna be a busy weekend!

1. Mimi Lauter at Marc Selwyn, Sept 10, at Marc Selwyn... go here.
2. Ester Partegas, Less World, at Christopher Grimes, go here..
3. Brad Eberhard, New Paintings, Sept 11, 2010 at Thomas Solomon Gallery, go here..















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Fall, Art Calendar:
Los Angeles

Eva Hesse,
rarely seen paintings

As summer comes to a slow fade, I'm beginning to get excited about some upcoming
art / design shows that will be opening very soon in Los Angeles. New work by Los Angeles artist Carlee Fernandez at ACME!, Richard Aldrich at Marc Foxx with "Slide Paintings."



First up, Eva Hesse at the Hammer Museum.
September 25 - January 2, 2011

"The Hammer Museum presents Eva Hesse Spectres 1960, an exhibition of seminal and rarely seen paintings by legendary artist Eva Hesse (1936-1970). Created when Hesse was just 24, this group of nineteen semi-representational oil paintings stands in contrast to her later minimalist structures and sculptural assemblages, yet constitutes a vital link in the progression of her work. While several recent museum exhibitions on Hesse’s work have featured a few of these paintings from 1960 however none have considered these works as a group all together. This timely reassessment of Hesse’s career furthers an understanding of her artistic contributions.

Organized by E. Luanne McKinnon, Director of the University of New Mexico Art Museum, Albuquerque, the exhibition focuses on what McKinnon terms Hesse’s “spectre” paintings for their haunted interiority and attempt to embody emotional states in abstract form.

As McKinnon notes, “Looking inwardly and outwardly and with paint as her guide, she began to paint herself out and away and ahead…The procession of paintings under examination here represents a rupture that, once completed (not as a formal solution but rather as a psychological denouement), settled back into solving the problems presented in abstraction, eventually evolving into the constructions that Hesse is lauded for.”


go to the hammer museum here..










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counting
backwards
and forwards
feels safe to me.

40- 50, Evan Holloway, 2007

As a kid, I used to count everything. Ceiling tiles, church pews, cracks in the sidewalks on the way to school, back of heads at a concert, or the pencils in my school box. There was a safety and calmness that came when I was caught up in the act of counting.

When my family decided to move to a nearby neighborhood, I became intent on counting everything in my house. I don't think I ever actually recorded the numbers, but I felt a strong desire to remember exactly how many cupboards we had in our kitchen.

Perhaps that is why Evan Holloway's sculptures give me such joy? Holloway's sculpture is on display at the Hammer Museum Los Angeles. as part of the new Selections show.

I think its 35 - 39. The one above is 40 - 50, (image courtesy of Marc Foxx Gallery.) Hundreds of faces, each with their own unique expression, balanced ever so carefully on the steel numbers. Feels like home.













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Michael Smoler

“bodies and celestial backdrops coalesce
as if made up of the very substance of the universe itself”

via light and wire gallery














Michael Smoler
the Universe is Part of Ourselves....

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Light & Wire Gallery presents an exhibition of new and recent collages by Los Angeles-based artist Michael Smoler. The exhibition, 'the universe is part of ourselves' will display twenty-six works from an on-going series of collages that combine reprinted Hubble images of the cosmos with such things as historical figures, animals and other iconic elements.

The collages are accompanied by a serialized poem entitled this here and now, written by the poet Lisa Johns for the occasion of this exhibition.







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