CB1: Timothy Nolan – The Constant Speed of Light

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Running through December 19th, Timothy Nolan’s vibrant solo show at CB1 Gallery in DTLA fuses photography and collage to make a painting of depth and vibrancy.

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“My works basically start with collage. I made a whole series last year and printed out a few like these. Once I figured out the possibilities, I spent more time scanning and manipulating the images than on the collage itself,” Nolan states.

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“In the end, it’s a printed collage-based image painting,” Nolan says. “The pieces are about the language of painting. I have a connection with minimal abstract art, and I’m really interested in mixing different visual languages.” Nolan has been working with patterns for 30 years.

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Originally from New York, the California-based artist uses landscape terrain photos that he shot as well as photos from old books.

His pieces are visually stimulating, kaleidoscopic, and startling in their juxtapositions. Stop in and have a look – CB1 is in the newly burgeoning South Santa Fe Ave. arts district just south of DTLA, at  1923 S. Santa Fe Ave., Los Angeles, CA 90021

 

 

Durden and Ray – Remains

Remains at Durden and Ray - DTLA
All photos: Jack Burke

 

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Just in time for Thanksgiving, running through November 28th is the perfect exhibition to be thankful for – Remains. This group show offers abstract painting “against the tide of mortality,” according to exhibition notes. Artists showing include: Ingrid Calame, Tomory Dodge, Scott Everingham, Jenny Hager, Alex Kroll, Susan Lizotte, Clive McCarthy, Max Presneill, Bryan Ricci, Kimberly Rowe, David Spanbock, Britton Tolliver, Steven Wolkoff.

The exhibition deals with mortality, what exists, what is, what is mortal, what – like art – lives on beyond our own plane of existence. Pretty weighty stuff, with no easy answers, and a bountiful visual feast as well.  We were able to discuss a number of the provocative pieces with their creators.

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Artist Scott Everingham says “I see myself as part painter, part architect.  I build spaces in which nothing is planned beforehand. I try to reveal elements that build a constructive space.” Here his works have an ethereal floating quality in which nothing is quite grounded. Everingham explains “There’s a deconstructed life guard tower floating, and it feels like the beach, but it’s all color palette, and I built on that.” In short: a vision that could be memory, could be Heaven, could be fragments of a forgotten past.

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Steven Wolkoff literally created a thousand “names” out of solid paint, as an homage to Anish Kapoor. Vibrant, filled with motion, what’s in a name, anyway? The substance we give it.

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Bryan Ricci’s created his Fringe through a layering process that ties in with the many layers of perception the exhibition itself seeks to express. “For me, the layering of stains and paint and the application is more important than even the image the work creates,” Ricci says.

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Jenny Hager’s Forked Tongues refers to the techno music she listens to when she works. “When I struggle on a title, I’ll pick up on something repetitious that I heard in a song. When I heard this phrase, I felt it dealt with the binary nature of beauty and darkness, so I used paints that glow like the sunset and warning signs.” Hager says she was interested in moving into something that “talked about the darkness or things we keep hidden, but the color palette and singularity is pretty consistent with all my current work.”

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Kimberly Rowe’s Happiness Calls for a Party gets its name from the effect that the black, velvety oil paint center has on the periphery of this otherwise acrylic painting.  “It allows the rhythm, and the music, and the cheer of the flourishes, and brush marks, and bold color that surround it, to shine.  The result is an embodiment of one of the tenets of my life: to increase happiness, decrease unhappiness,” she says. “That isn’t to say I believe in burying my problems.  But if I focus on joy, I see more of it.  In other words, if I want it, I set out to create it.  What better way to drum up at least a handful of happiness is there than to throw a party and dance?!  Just thinking of it brings a smile to my face.” Her painting will bring a smile to viewers, too. 

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Max Presneill, who curated this exhibition and has a work in it, describes the show as a lead-in to a bigger exhibition planned for the Torrance Museum of Art next June. Presneill is TAM’s director, and the upcoming show will be titled Grafferists. Presneill notes “In the context of this exhibition, my piece is concerned with the act of art making itself.”

So if you’re looking for something to put a little profundity in your Thanksgiving weekend, hit Durden and Ray’s Project Space at 1950 S. Sante Fe, unit # 207, Los Angeles, CA 90021

Hours: Saturdays 11:30-5:30, or by appointment.
dandrart@gmail.com

  • Genie Davis; all photos: Jack Burke

 

 

Loft at Liz’s: Divergent Voices

Divergent Voices at Loft at Liz's - Photo: Jack Burke

What a show and what a great space. If you haven’t been to the warm, well lit, Loft at Liz’s, the gallery’s salon-type vibe will win you over. Divergent Voices ran only a single week with an opening November 7th, but all of the artists’ works were profoundly affecting, and art lovers – or just simply anyone in search of a visually stimulating good time, would do well to seek them out individually.

Hosted by artist Susan Melly, who found the venue for her art critique group, and featuring the work of twelve artists including Stefanie Bauer, Melanie Newcombe, Cameron McIntyre, Andree B. CarterRin ColabucciGill MillerMargaret OuchidaPeter WalkerGina Yu, Shula Singer Arbel, and Lucie Hinden, as well as Melly’s own, the idea for the show originated with the idea to compile a show featuring high-end, quality art work.

Andre Carter’s delicate work featured beading and stitching that seemed linked to Native American crafts woven by a lost tribe.

Peter Walker’s graphite on paper drawings were beautifully realized, stunningly  hyper-realistic fine art.

Margaret Ouchida’s shadow boxes, below, danced with energy, miniaturized, perfect scenes that pulled viewers into their tiny, detailed framework. Each piece contains a minute, almost hidden toad. Find the talisman.

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Below, Melanie Newcombe’s astonishing mesh sculptures are graceful, floating, dancers in the sea, mermaids on land, nymphs whose flesh has silvered. Based on clay figures that she creates, she uses a rudimentary wooden armature on which to build her ethereal mesh figures.

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Susan Melly’s own work is equally charged. Melly’s work is all about the feminine, and female objectification. Offering up images about identity, sexuality, power, and industrial machines. The artist was inspired by a discovery of dress patterns and industrial-age sewing machines that were a part of her mother’s estate.

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“She represents the nurturing aspect of woman,” Melly says of her figure below, part of a new body of work.

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Below, Lucie Hinden’s Best Laid Plans series riffs on the idea of architectural blue prints, and creates images that feel like a patchwork quilt, or a landscape viewed from a seat on an airplane.

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Below,  Shuler Singer Arbel creates a world of color prisms,  painted images that resemble mosaics, or pebbles from a rainbow.  Geometric landscapes, patterns of water droplets…

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The show was packed with brilliant, unique, stand-out pieces, a full-house crowd, and a delicious buffet, too, with food as diverse as the art, from quinoa salad to lemon bars. What better party than a celebration of art? In short: a great night whose “Divergent Voices” rang out loud and clear – follow these artists, visit their unique perspectives now, and in years to come.

Author with Susan Melly, right
Author with Susan Melly, right
  • Genie Davis; Photos: Jack Burke

Nothing Scary Here: Great Art at MASque Attack

Great art at MASque Attack - All Photos: Jack Burke
Great art at MASque Attack – All Photos: Jack Burke

What happened on October 31st in Los Angeles? Well, okay, sure, Halloween.

But also on the calendar was MASque Attack, held at Temporary Space at 5522 Wilshire across from the El Rey. Part costume party – artists came in costume, part art-for-artists event – artists could display but not sell works, part fantastic visual scene, the Halloween edition of a MAS Attack event was curated and hosted by Colton Stenke, Kio Griffith, and Max Presneill. It was the ninth such event in two years.

MASque Attack hosts
MASque Attack hosts

According to Presneill, “This is a community building event, and we hold one every three months. There are three basic rules: no sales allowed; if you’re in the show you have to attend it; and the art must be hung salon style. Whether you’ve come from a large gallery or never have shown before, you need to hang your pieces yourself.”

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Costumed artist, vibrant creation – “A Young Girl’s Vanity” – layered with meaning, color, texture

Kristine Schomaker - artist with her work
Kristine Schomaker – artist with her work

The idea behind these art shows is to create an “informal fun mixer, and make artists know they’re part of a big circle. Make friends and connections in a chill atmosphere,” Presneill noted. “We do international artists as well as local artists, but we do not work commercial galleries at all.”

Artist Dani Dodge offers video Moving Perspective: eye glass lenses wash into the ocean, people drop lenses - what we see, we see in the motion of time.
Artist Dani Dodge offers the video Moving Perspective: eye glass lenses wash into the ocean, people drop lenses – what we see, we see in the motion of time.

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If you’re an artist or art lover, note the next scheduled locations for these MAS Attack events: San Diego Art Institute, Riverside, and Torrance Museum of Art by next fall.

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Chenhung Chen with her delicate, profound line drawing
Chenhung Chen with her delicate, shimmering work

And in the meantime, enjoy some of the great art that made Halloween a lot less of a fright fest in LA.

Gay Summer Sadow Rick is a black cat with a "purr-fect" sunset skyline
Gay Summer Sadow Rick is a black cat with a “purr-fect” sunset skyline

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Pat Gainor’s “Memories,” pulse vibrantly red.

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