LA><ART

ART IN THE PARKING SPACE
A year-long project by Warren Neidich and Elena Bajo
June 30, 2011 – June 30, 2012

PERFORM! NOW! CHINATOWN

Event hosted by The Public School: Saturday, July 30, 2011 

7PM - 10PM at The LA Public School and Chung King Road Parking Lot, Chinatown

Featuring artists Emily Mast, David Medalla with Jevijoe Vitug, Gracie Devito, Ana Prvacki and Pash Buzari

Over the course of one year, invited artists will create temporary and ephemeral artworks in parking spaces across Los Angeles.  Each work will reflect different environments and sets of cultural parameters that define the Los Angeles basin.  Public and private spaces will be occupied, from a large parking lot to a collector’s driveway.  Launched June 30th in parking spaces contiguous to LA><ART, Art in the Parking Space will continue sporadically throughout the year

Chairs:
Karyn Lovegrove / Brooke Kanter / Rebecca Bloom

Host Committee:
Jenny Chase Bernstein / Victoria Burns / Sheridan Brown / Veronica Fernandez / Lauri Firstenberg / Oliver Furth / Juliette Hohnen-Webber / Karyn Kohl / Bettina Korek / Ariana Lambert / Helen Lewis / Maryam Lieberman / Amber Noland / Iris Marden / Julie Miyoshi

Lauren Merkin handbags designed by artists Lisa Anne Auerbach, Andrea Bowers, Alika Cooper, Daniel Cummings, Annie Lapin, Mimi Lauter, Caitlin Lonegan, Warren Neidich and Elena Bajo, Fay Ray, Amanda Ross Ho, Maha Saab, and Jennifer West.

Featuring a performance by artists Scoli Acosta and Alison O' Daniel.


For tickets or more information please visit www.laxart.org call 310.559.0166 or email lesleymoon@laxart.org

#derekshowlive is the most recent performance in Derek DelGaudio's ongoing series, The Burden of Secrets.  Held at LA><ART's Annex, #derekshowlive is an interactive show that will explore magical connections, invisible alchemy, limitations of the impossible and a new stage.

Derek DelGaudio is widely considered one of the most gifted magicians of his generation. In 2011, the Conjuring Arts Research Center appointed Derek their Director of Contemporary Conjuring as a result of his groundbreaking work as an interdisciplinary artist.  Derek has lectured and performed around the world, inspiring audiences and creating transformative moments with his unique talent and perspective.

LA><ART ANNEX
1520 North Cahuenga Boulevard
Hollywood, CA 90028



 

CREATIVE TIME Presents:

The Bruce High Quality Foundation — TEACH 4 AMERIKA

LA><ART Sunday April 24, 2011 7-9 PM

Please note that space is limited, please RSVP to Lesley Moon at lesleymoon@laxart.org

What is art school for? Given its exorbitant cost and the unlikelihood of art market success for most students, what should art education be? And what institutions are best suited for the task?

Teach 4 Amerika: The Conversation asks local art students, creative thinkers, and arts professionals to consider these questions on the local level as the first step toward constructing a national imagination of the future of arts education.

Participants will arrive prepared to share and exchange in an open forum the ideas, methodologies, and individual histories that have informed their practice.

Participants should consider:

1. Define what it means to work with or within arts education for you.

2. What would you say are the top three problems with arts education in your area today? Why?

3. Imagine the best possible educational situation for yourself. What does that look like?

ABOUT THE PROJECT

In late March 2011, The Bruce High Quality Foundation will pile into a used limousine-cum-school bus and take off on a month-long, coast-to-coast investigation of what's going on with contemporary art schools.

"The idea of art education needs to be taken back from the self-fulfilling professional art education industrial complex," the Foundation argues, "and put in terms — economic, social, and practical – for artists on the ground." Teach 4 Amerika is a rallying effort to begin this conversation on a national scale and to encourage a new generation of students, artists, and educators to imagine what is possible for art education in America.

To read Explaining Pictures to a Dead Bull by The Bruce High Quality Foundation, click here.

For more information on Teach 4 Amerika or to learn more about The Bruce High Quality Foundation, please visit:

www.thebrucehighqualityfoundation.com and www.creativetime.org

CRITICAL MASS

Kerry Tribe's live restaging of the classic 1971 film, featuring actors Reed Windle and Jasmine Woods

7:30pm Friday April 22nd @LA><ART
(Performance approximately 30 minutes)

Hollis Frampton’s groundbreaking experimental film Critical Mass (1971) captures an argument between a couple and cuts it up into a series of rhythmic, repetitive snippets. Kerry Tribe stages a live performance of the classic structural film with actors Reed Windle and Jasmine Woods as the young couple. Critical Mass is Tribe’s first live performance project and continues the investigation into personal and historic memory found in her film and video works.

In conjuction with the exhibition All of this and nothing

ABOUT LA><ART

Celebrating its 5th Anniversary in 2010, LA><ART is the leading independent nonprofit contemporary art space in Los Angeles, committed to the production of experimental exhibitions and public art initiatives. Responding to Los Angeles' cultural climate, LA><ART produces and presents new work for all audiences and offers the public access to the next generation of artists and curators. LA><ART supports challenging work, reflecting the diversity of the city and stimulates conversations on contemporary art in Los Angeles, fostering dynamic relationships between art, artists and their audiences. LA><ART has produced and commissioned over 100 projects in five years.

LA><ARTʼs programs are made possible with the generous support of the Andy Warhol Foundation for the Visual Arts, Danielson Foundation, the G.L. Waldorf Family Fund, City of Los Angeles Department of Cultural Affairs, The Los Angeles County Arts Commission, Weisman Foundation, Depart Foundation, Jerry and Terri Kohl Family Foundation, Sue Hancock, Eve Steele, and Peter Gelles. Additional support provided by Pete Franciosa and the Kebok Foundation.

LA><ART is located at 2640 S. La Cienega Blvd. Los Angeles, CA 90034
T.310.559.0166 F.310.559.0167 www.laxart.org
LA><ART is open Tuesday through Saturday 11am - 6pm

For futher questions, please contact samara@laxart.org

HAMMER MUSEUM INFORMATION
For current program and exhibition information call 310-443-7000 or visit www.hammer.ucla.edu.
 
Hours: Tuesday, Wednesday, Friday, Saturday, 11am - 7pm; Thursday, 11am - 9 pm; Sunday, 11am - 5 pm; closed Mondays, July 4, Thanksgiving, Christmas, and New Year’s Day.

Admission: $10 for adults; $5 for seniors (65+) and UCLA Alumni Association members; free for Museum members, students with identification, UCLA faculty/staff, military personnel, veterans, and visitors 17 and under. The Museum is free on Thursdays for all visitors.

Public programs are always free.

Location/Parking: The Hammer is located at 10899 Wilshire Boulevard, at Westwood Boulevard. Parking is available under the Museum. Rate is $3 for three hours with Museum validation. Bikes park free.

Hammer Museum Tours: For group tour reservations and information, call 310-443-7041.

THE MISTAKE ROOM LAUNCHES AT LA><ART ANNEX

THE MISTAKE ROOM 001
Artist & Curator Anonymous

-OPENING NIGHT-
8-10pm Tuesday, April 19th,  2011
With a performance experiment by Magician Derek DelGaudio
 
LA><ART ANNEX is located at Space 15 Twenty in Hollywood
1520 N. Cahuenga Blvd., Los Angeles 90028
 

Hollywood, CA—The Mistake Room is pleased to announce its Spring 2011 season that will inaugurate with one of the most comprehensive evenings of contemporary art works to date. The lots assembled for this evening offer some of the most iconic and art historically important contemporary works by some the most renowned artists from around the world. Executed between 1945-present, these works were recently re-discovered and recuperated by the seller who then treated and restored them to pristine condition. Despite excessive relocations, extreme exposure to light and flash photography, and several storage periods in flattening vaults, The Mistake Room is proud to be able to guarantee each work with a satisfactory condition report and a certificate of authenticity. Through sharp and rigorous engagement with the works, the seller was capable of identifying the works and their relationship prior to consigning them to The Mistake Room. Such is the importance of these works to our understanding of the current landscape of art production, circulation, and presentation, that editions of them can be found in the collections of some of the world’s most prominent contemporary art institutions. Never before offered in a single event, these works visualize one of the most coveted and rarely articulated art historical narratives—unearthing the desires that underpin our yearning for such timeless treasures.
 
The Curator of Mistake Room 001: "We are thrilled to have the opportunity to premiere these works at The Mistake Room. After weeks of intense negotiations with the seller, our team was able to reach an agreement that will allow these never before seen works to be offered for the very first time. Most of the works offer critical insight into the history of art's circulation in other spheres of cultural production and they undoubtedly will advance our collective understanding of the value of contemporary art." 
 
The exhibition will be on view starting Tuesday, April 19, 2011 at 8 PM.  A magic performance experiment by Derek Delgaudio will be presented at 8pm. The event is expected to last two hours.

WITH SUPPORT FROM URBAN OUTFITTERS
 
ABOUT THE MISTAKE ROOM 
The Mistake Room is a spatialized curatorial and artistic experiment that manifests through the realization of exhibition projects that consider the process of exhibition-making as an epistemic and dialogic center. Acknowledging that in our hyper-relativistic environment of the archival the identity of the author is a key tool in the interpretive apparatus of cultural production, and that as such, the identity of the author is by necessity of the critical process an inextricable component in the construction of meaning and historical signification through the author’s produced work, The Mistake Room generates a radical space in which the relationships between authorship, cultural production, meaning-making, representation, and reception violently collapse; exposing the political implications that underpin the insular domain of museological representation that for too long has hidden under the veil of objectivity. Curators and artists are invited to create and activate the space of The Mistake Room, exposing their process of collaboration as crystalized in the exhibition context, but while remaining anonymous to the public. Anonymity here is both strategy and tactic—a conceptual methodology that allows for the creative process to be redefined, re-interpreted, and if necessary, to fail. While the public is invited to witness the morphing exhibition as negotiations are made between our invited curators and artists, the resolved or ‘finished exhibition’ in this contexts functions as the culmination of this experiment. The Mistake Room is organized by A.Bandit (Glenn Kaino and Derek DelGaudio) and Cesar Garcia with support from Urban Outfitters and LA><ART. 

ABOUT LA><ART
Celebrating its 5th Anniversary in 2010, LA><ART is the leading independent nonprofit contemporary art space in Los Angeles, committed to the production of experimental exhibitions and public art initiatives. Responding to Los Angeles' cultural climate, LA><ART produces and presents new work for all audiences and offers the public access to the next generation of artists and curators. LA><ART supports challenging work, reflecting the diversity of the city and stimulates conversations on contemporary art in Los Angeles, fostering dynamic relationships between art, artists and their audiences. LA><ART has produced and commissioned over 100 projects in five years.

Book Presentation and Panel Discussion on Mario Pfeifer's Reconsidering The new Industrial Parks near Irvine, California by Lewis Baltz, 1974, published by Sternberg Press, 2011

Sunday April 10, 2011 4:30 to 6:00 PM

LA><ART is proud to host Mario Pfeifer: Reconsidering The new Industrial Parks near Irvine, California by Lewis Baltz, 1974. In a panel discussion - for the book's  first presentation in the US - speakers Allan Sekula, Catherine Taft and Mario Pfeifer will discuss possible answers to the inherent questions and furthermore investigate notions of Representation / Reproduction / Realism in these works, paired with critical observations of labor depiction within socio-political and conceptual art practices in the 1970's until today. Andrew Freeman will be moderating the discussion.

The book discusses Mario Pfeifer’s recent 16mm film installation Reconsidering The new Industrial Parks near Irvine, California by Lewis Baltz, 1974. This installation, consisting of two synchronized, looped, and parallel projected films, takes its point of departure from the first monograph of Baltz’s work, published by Castelli Graphics, New York in 1974.

Over the last four decades, Lewis Baltz has continuously produced highquality photographic books. This publication functions as a critical reader, reevaluating “New Topographics” as representations of landscapes. Looking at Pfeifer’s installation, which re-visits a Baltz’s photographic site, Vanessa Joan Müller negotiates the terms realism / reality and the way Pfeifer discovers the mis-representation of a modern industrial building in Irvine’s Industrial Park in 2009. Martin Hochleitner contextualizes Pfeifer’s film installation within the context of the original “New Topographics” exhibitions (1975), which, since 2009, are being shown throughout the United States and Europe. In addition, this publication consists of film stills, production stills, and a rare interview by Mario Pfeifer with Lewis Baltz.

In her introduction to this critical reader Julia Moritz notes the following:

"One of the rare interviews given by Lewis Baltz — published here for the first time in conversation with Mario Pfeifer — highlights the difficulty in formulating the open questions generated by that particular photographic work, as well as its distributive processing. With and beyond Baltz, the struggle for an adequate terminology and the meaning of socio-political context for such images emerges as Pfeifer’s urgent questioning of the conceptual tradition. It becomes apparent that Baltz’s interest was geared more toward abstract,formal painting — and its political implications — rather than toward a genuinely photographic engagement. In which context then should Baltz’s work be discussed appropriately? The republishing of Baltz’s short, untitled text from 1974 provides a clue as to the horizon of Baltz’s conceptual tradition.
 
Alongside his work as an artist, he has published writings — albeit under a pseudonym — as an architecture critic and theorist. “Untitled” combines the aesthetic and discursive strategies of conceptual art in an illuminating way: a list of typical characteristics — similar to the serial images themselves — of the utility buildings duly depicted (“typical characteristics” include: locations, considerations in site selections, site planning, construction techniques, functions, names, environmental relations, and economic considerations). Typicality appears to be the principal structural feature of the image-oriented utilitarianism that Baltz, by means of his photographic close reading, exposes as the driving force of postmodern conceptions of environment, work, and, indeed, life. But what is typical of Baltz’s own photographs?"
 
In his acclaimed essay Photography between Labor and Capital (1988), Allan Sekula proposes:

"What should be recognized here is that photographic books (and exhibitions), frequently cannot help but reproduce these rudimentary ordering schemes, and in so doing implicitly claim a share in both the authority and the illusory neutrality of the archive. Herein lies the 'primitivism' of still photography in relation to the cinema. Unlike a film, a photographic book or exhibition can almost always be dissolved back into its component parts, back into an archive. ... Photographer, archivist, editor and curator can all claim, when challenged about their interpretations, to merely passing along a neutral reflection of an already established state of affairs. Underlying this process of professional denial is a commonsensical empiricism. The photograph reflects reality. The archive accurately catalogues the ensemble of reflections, and so on."

Andrew Freeman is an artist and currently a faculty member of the Photography and Media program at The California Institute of the Arts. He co-directs the photographic arts curriculum of the Community Arts Partnership (CAP). His work stresses new forms of documentary photography, installation, film and writing and is included in many public and private collections. His photographic work (Manzanar) Architecture Double was published as a book in 2006 and has shown in Los Angeles at LACMA and the Sam Lee Gallery as well as London, Tel Aviv, and at the Center for Creative Photography in Tucson Arizona. His ongoing work and artistic collaboration centered in Panama was premiered in Los Angeles at Las Cienagas Projects in 2009.

Mario Pfeifer is a film-making artist based in Berlin and New York. After his studies in Leipzig (HGB) and Berlin (UDK), he graduated from Willem de Rooij's class at Städelschule Frankfurt am Main in 2008. He was a Fulbright fellow in Los Angeles (California Institute of the Arts) in 2008/09 and received further grants from the Goethe Institut and the DAAD that lead him to Bangkok, Mumbai and New York, where he currently lives and works. [Source: KOCH OBERHUBER WOLFF].

Allan Sekula is a photographer, writer, and filmmaker based in Los Angeles, where he teaches in the Program in Photography and Media at the California Institute of the Arts. He has explored an experimental social documentary practice since the early 1970s. His books include Photography Against the Grain, Fish Story, Geography Lesson: Canadian Notes, Performance under Working Conditions, and TITANIC's wake. [Source MAK]

Catherine Taft is a Los Angeles-based writer and curator. She is a regular contributor to publications including Artforum, ArtReview, Modern Painters, Metropolis M and exhibition catalogs in the United States and abroad. In addition to her writing, Taft is Curatorial Associate in the Department of Architecture and Contemporary Art at the Getty Research Institute, where she helped organize the 2008 exhibition, "California Video," and where she is currently working on "Pacific Standard Time," an exhibition of post-war art from Los Angeles, scheduled to open at the Getty in October 2011. [Source: artoffice]

Further information on the publication:

Mario Pfeifer: Reconsidering The new Industrial Parks near Irvine, California by Lewis Baltz, 1974
With texts by Chris Balaschak, Lewis Baltz, Martin Hochleitner, Julia Moritz, Vanessa Joan Müller, and a conversation between Lewis Baltz and Mario Pfeifer

© Sternberg Press, 2011, English
12 x 15 cm, 96 pages, 30 b/w ill. , softcover
ISBN 978-1-934105-29-0
$19.95 | €15.00

http://www.sternberg-press.com/index.php?pageId=1302&l=en&bookId=197&sort=year
http://www.rampub.com/culture+theory/978-1-934105-29-0

--
The CONVERSATION series, inaugurated on April 5th, 2011 in Toronto, Canada, will continue with presentations and discussions in New York (White Columns), Berlin, Linz and Paris throughout 2011.

Please visit http://www.sternberg-press.com/?pageId=2 for further information and updates.

A.Bandit [Glenn Kaino + Derek DelGaudio]

Introduces

The Mistake Room

Featuring a speical guest performance by Derek Hughes

8-10 PM Sunday March 13th 2011
LA><ART ANNEX
AT SPACE 15 TWENTY HOLLYWOOD

A.Bandit will present the first public showing of their ongoing project The Mistake Room, along withguest magician Derek Hughes.

RSVP to heber@laxart.org

A.Bandit is an experimental performance art group consisting of conceptual artist Glenn Kaino and magician Derek DelGaudio. Formed as an
extraordinary alliance with the intention of creating a new medium somewhere between art and magic, A.Bandit has performed their psycho-spatial interventions at such venues as Soho House (Los Angeles), Art LA Contemporary in Santa Monica, and LA><ART Annex in Hollywood, where they have taken residence for six months, operating their “conceptual magic shop” called The (Space) Between.

Glenn Kaino has exhibited his work in solo exhibitions at the Andy Warhol Museum; Museum of Contemporary Art, San Diego; Whitney Museum of American Art at Altria; LA><ART; REDCAT; ArtPace, San Antonio; The Project, NYC; and Rosamund Felsen Gallery, among others. He has also been represented in group exhibitions at the Museum of Contemporary Art, Los Angeles; Studio Museum in Harlem; International Film Festival Rotterdam, and the Museum Folkwang Essen.

Derek DelGaudio,a performer and creative consultant, is widely considered one of the most gifted magicians of his generation. In 2011, the Conjuring Arts
Research Center appointed Derek their Director of Contemporary Conjuring.  Derek is currently nominated to be the 2010 Close-up Magician of the Year of The Academy of the Magical Arts (AMA) at the world-famous Magic Castle in Los Angeles.

This project is made possible with the generous support of Urban Outfitters

Please join LA><ART for the opening of All of this and nothing, part of the Hammer Invitational this Saturday February 5, 2011 from 6 - 8 PM.

 

Dispatches and Directions: On Artist-Run Organizations in Los Angeles, the final publication and project of ART2102, spotlights a number of the artists-run collaborations that are currently active in LA, and that will continue to thrive as ART2102 recedes. Edited by Ronni Kimm and Jesse Aron Green, the publication will not only provide space in which these organizations can describe their work, but will also look at the legacy of ART2102 in light of the diverse range of programming emulated by these groups.

In conjunction with the launch of Dispatches and Directions, some of the most interesting artists and organizers in Los Angeles will engage each other in discussion on a variety of topics relevant to their work.

Participants will include:
Thomas Lawson and Piero Golia, moderated by Sarah Lehrer-Graiwer
Lauri Firstenberg and Renaud Proch, moderated by Yunhee Min
Eve Fowler and Davida Nemeroff, moderated by Dorit Cypis
Giles Miller and Wu Tsang, moderated by Jennifer Doyle

Visit

www.art2102.org/home.html

for additional details and to learn more about the publication.

LAXART invites artists and entertainers to the stage.

Each performer will have up to 8 minutes on stage.

Expect the unexpected. Come one, come all.

7 - 7:30 PM: Lottery for performance slots.
You must be present for lottery if you want to perform.

7:30 - ???: Performances begin every 10 minutes.

This one-time dance class is open to the public, but space is limited.

This event has reached capacity. The RSVP list is now full.