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« October 2007 | Main | December 2007 »
 "Surface Works" is a new series of paintings and wall sculptures by the artist Eliza Geddes opening this weekend. Found Gallery in Los Angeles will present Geddes' new works in her first exhibition in L. A. which will continue through the New Year. Geddes is interested in the formal qualities of painting, investigating surface, texture, balance, speed and shape as she creates both two and three dimensional work. The artist uses the manipulation of formal qualities to entice the viewer with the repetition of marks such as circles and X forms. Geddes three-dimensional works continue her formal concerns while also challenging the boundaries of painting and sculpture. A graduate of New York University and Trinity College in Hartford, Connecticut, Geddes has exhibited with 33 Bond Gallery in NYC, 440 Gallery in Brooklyn and Mulry Fine Art in West Palm Beach, Flordia.
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 In a new exhibition opening yesterday at Spruth and Magers in London is "Where is the Nearest Camera?" by New York-based artist Louise Lawler. The artist has become known for her body of work, which has been developing since the 1980's, that examines the life of a work of art post studio creation. Lawler raises interesting questions of authorship and identity as she photographs works in galleries, museums, auction houses and private homes. The artist is interested in the discourse that a work can instigate when viewed in multiple contexts, and when the work itself is not the focal point of the imagery. Her current exhibition takes place in some of the London-based auction houses and the title "Where is the Nearest Camera?" asks the viewer directly to consider their own point of view within a display environment. Lawler currently lives and works in NYC and has completed solo exhibitions with the Museum of Modern Art in New York, Museum of Fine Arts, Boston, Hirshhorn Museum, Washington D.C., Portikus, Frankfurt and at the Kunstmuseum Basel (2004). A major retrospective of her work was held last year in Ohio at the Wexner Center for the Arts. | |||
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 Currently showing at the Museum of Contemporary Art, Sydney is Julie Rrap's retrospective "Body Double". Spanning the last 25 years of the artist's career, this exhibition is an evocative exploration of the human body. With particular emphasis on the female form, Rrap's photographic, sculptural, video and installation pieces explore issues of feminism and identity. Rrap uses herself as a key figure in many of the works, creating casts of her own body, photographing herself and even utilizing her own hair and bodily fluids. Appropriation is a tool widely used by Rrap as her early works include a photomontage of herself as Christ, while others include her own naked body fused with artworks created by the 'great masters,' such as Rembrandt and Munch. Rrap currently lives and works in Sydney. Her work has been displayed on a global scale, appearing within solo exhibitions at the Galerie Eric Franck, Switzerland and Ecole des Beaux Arts, France. | |||
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 Opening this weekend at the Richard Goodall Gallery in Manchester, UK will be a selection of posters, prints, paintings, drawings and etchings by Chicago-based artists Jay Ryan and Diana Sudyka. The two screen-print artists have been working in this medium since 1995, and own their own printing company The Bird Machine, in the Chicago area. Sudyka received her MFA from Northwestern University and currently works as a freelance illustrator and printmaker. Ryan's work incorporates children's book illustrations with hand drawn lettering. His designs have been used by The Flaming Lips, Sonic Youth and Stereo Lab among many others. His most ambitious project to date is "100 Posters, 134 Squirrels" which documents his artistic career over the past ten years. In regards to his work, Ryan has stated "One of the most important lessons I learned in school, from a teacher, was to lower my expectations of my work and be receptive to silliness, chance, and the development of a drawing in the process. Also, I think animals are funny." | |||
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 Belgian-born artist Stefan Annerel creates abstract paintings that attempt to challenge the sensory perception of the viewer. Upon first glance the artist's works appear glossy and non-representation, however with greater inspection the viewer will find a rich surface of layers, some of which may look like paint but are actually collaged tape or fabric, while others appear strictly abstract and then suddenly reveal themselves to be figurative. The artist is inspired in part by patterns found in mass produced contemporary design and occasionally he will directly incorporate those exact fabrics in his work. Annerel often displays his work on patterned walls which act as visual support for the paintings to sit on, under or in between. Recent exhibitions for the artist include "Parallax" which is currently on view at Galerie Smits in Amsterdam, and "Rakelings" at Galerie C. De Vos in Aalst, Belgium. | |||
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 Chicago-based artist J.A. Zimmermann creates massive outdoor paintings which reflect the communities and the built environment around the painting site. Zimmermann actively meets members of the Chicago community and represents them with an elevated and monumental stature. The artist has also become known for his small works which often depict vehicles such as ice cream trucks and police paddy wagons, as well as paintings of trash clumps which he has coined "urban tumble weeds." Zimmerman received his BFA from the University of Illinois at Urbana-Champaign, and has completed numerous exhibitions and large-scale public paintings in the US, Puerto Rico, Kenya and Peru. In the summer of 2003, the artist presented "Dark Matter" an exhibition at the Museum of Contemporary Art (MCA) in Chicago, and 2006 he completed their artist in residency program with a 38' x 15' painting titled "Thinking Out Load." | |||
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 Opening today at Victoria Miro in London, in her first solo exhibition in the UK, Wangechi Mutu will be making a departure from her earlier collages and installations with their highly critical, dark and confrontational themes and stepping into a renewed optimism and positive energy inherent in this new body of work. The exhibition's title Yo.n.I is derived from yoni, the Sanskrit word for "divine passage" or sacred space rooted in the worship of female creativity and sexual organ. With layers of visual metaphor, Mutu likes to force her viewers to question assumptions about race, gender, geography, history and beauty. Mutu received her BFA from Cooper Union, New York and her MFA from Yale University School of Art. The artist was born in Nairobi, Kenya and currently lives and works in New York City. | |||
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 New paintings by artist Mala Iqbal will be presented in an exhibition titled "Washed Away," opening next week at PPOW in New York City. Iqbal's work sits between traditional landscape painting with psychedelic drippy colors that are characteristic of graffiti and cartoon imagery. The distortion of the artist's subjects causes the works to be rooted in fiction, existing somewhere on the boarder of abstraction and realism. The unnatural and sometimes acidity color palette adds to the physically surreal qualities in the work and further pushes the ability to successful mash-up many different cultural references. Iqbal currently lives and works in Brooklyn NY, and is an MFA graduate from the Rhode Island School of Design (1998). Since graduation, the artist has exhibited with Bellwether Gallery in New York and Richard Heller Gallery in Los Angeles. Museum exhibitions include works in the New Museum, the Brooklyn Museum and the Queens Museum. Iqbal has been included in publications such as New York Times (review) and BOMB Magazine, and will be included in an upcoming traveling exhibition titled "Psychedelic: Optical and Visionary Art since the 1960s," opening in 2009. | |||
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 Slater Bradley's second solo exhibition at Los Angeles' Blum & Poe Gallery uses video, sculpture, and drawing to rephrase outmoded and forgotten histories. The exhibition, titled "Hope From a Dark Place," began as a drawing project and grew into a multi-media collaboration. Since False Killer Whales, a species of dolphins, are highly trainable and have a tendency toward suicidal behavior, Bradley explored the idea of lost identity by using scrimshaw to carve drawings of False Killer Whales into the ivory keys of a 1860s piano. The artist then collaborated with musician Max Seigel to compose a soundtrack for the exhibition and a tuxedo clad pianist will play the score at 3 PM every Saturday and Sunday until the exhibition's end on December 22nd. "Hope From a Dark Place" also features two films, one a rephrasing of Thomas Edison's 1903 panoramic view of Blackwell Island and the other a farce in which Bradley's doppelganger changes from a 19th Century gentleman into Gene Kelly. The exhibition as a whole functions as an eerie environment of sounds, movements and historicisms. Bradley has exhibited at the Guggenheim Museum, The Whitney Museum, and the Schirn Kunsthalle in Frankfurt, Germany. In 2005, he received The Louis Comfort Tiffany Foundation Award in Video. | |||
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 Opening at the end of this month is the exhibition "Saved with water," by Finnish artist Susanna Majuri. Galerie Adler will present the work in Majuri's first solo exhibition in New York. The artist's photographs are rooted in narritive and usually depict an interaction between subject and landscape. When speaking of her work the artist has stated, "I follow the logic of colours when I combine places, people and clothes. To me, the most important quality of photography is its capability to convey emotions. I want to start secret love affairs with places." Each scenario is loaded with psychological possibilities and symbolism that successfully commingles fiction with fact. Majuri currently lives and works in Helsinki, Finland, and has exhibited in Finland, Norway, Sweden, Iceland, Germany and France. She is a graduate of the Turku Arts Academy (2004), and received her M.A. in photography from the University of Art and Design in Helsinki. In 2005, the artist won the photography prize Gras Savoye Award in Arles, France. | |||
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 "Figurative Pakistan" is a new group exhibition scheduled to open this week at Aicon Gallery in London. The exhibition features the work of four prominent Pakistani artists, Ijaz ul Hassan, Ahmed Ali Manganhar, Sana Arjumand and Naiza Khan, whose work is pictured above. Collectively the group is able to address several of the social, national and political issues that have impacted Pakistan over the past several decades. All of the artists, with the exception of Ijaz ul Hassan, are of the same generation. Hassan, born 1940, has made major contributions to the development of Pakistani contemporary art for this political works which in 1970 caused his arrest and solitary confinement. Naiza Khan, has exhibited worldwide, and continues to explore society's view of woman and the female body through both Islamic and Western perspectives. Ahmed Ali Manganhar, has taken up the genre of "Company" painting, from the era of the East India Company, and Sana Arjumand investigates the role of religion vs. culture and what it means to be young, female and Pakistani today. | |||
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 Stepping into the Perry Rubenstein Gallery in New York City is a little like stumbling upon a musical shipwreck. Diana Al-Hadid has used plaster, fiberglass, wood, polystyrene, and cardboard to create a romantically ramshackled and dilapidated sculpture, "Record of a Mortal Universe," which is based on the phenomenon of a hero's collapse. Sourcing religion, architecture, and physics, Al-Hadid's pointed and varied references unfold within the work, from a grand staircase that leads to a decomposing Greek temple to an upside-down vaulted arch and melted pipe-organ pedals. A gramophone extends through a ring of decrepit temple columns and crumbling gothic buttresses, making the sculpture seem as though it has appeared, tattered and torn, from the background of a painting by Hieronymus Bosch. "Record of a Mortal Universe" also explores gravitational collapse, or the phenomenon of a massive body collapsing under its own weight. The sculpture sets up an engaging dichotomy in that the foundation's materials, cardboard and melting resin, seem tenuous and unable to support such a gigantic mass. Yet the reference to Greek architecture and ruins suggest that this is somehow a solid structure that has been around for an untold number of years. Diana Al-Hadid is a Brooklyn-based, Syrian-born artist who graduated from the Virginia Commonwealth University in 2005. She participated in the Skowhegan residency this past summer, and her work will be at the Perry Rubenstein Gallery until the 24th of November. | |||
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 Lauren Bon has turned Ace Gallery's large Wilshire space into an intensely sensorial experience, filling it with raw honey, earth, carcasses, bees, corn, cotton and wood. Bon conceived of the exhibition, "Bees and Meat," as a sculptural symphony that joins decay and growth. In one small gallery, a lamb carcass hangs on the pole of a fountain that regurgitates slow streams of honey. In another gallery, the walls are covered with stacks of bent wood, twine and cotton. A third gallery has been transformed into a majestic, knee-deep sea of corn kernels. Because of its scale, the exhibition took longer than expected to install. Initially scheduled to open on October 20th, it opened on October 27th and will run through January 20th. Lauren Bon, who lives and works in Los Angeles, has been making land-focused work since the early 1990s and she became known as the "Not a Cornfield" artist after she transformed 32 acres of Los Angeles' industrial Brownfield into a cornfield in 2005. Bon graduated from Princeton in 1984 and received her Masters in Architecture from MIT in 1989. She has shown at the Freud Museum in London, the Santa Monica Museum in West Los Angeles, and Boston's Miller Block Gallery. | |||
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 Opening this evening at the Marianne Boesky Gallery in New York City will be the second solo exhibition of new sculpture by California-based artist Liz Craft. The show includes five large-scale all white, cube-based sculptures which contain surface reliefs, cut outs and protrusions. While at first glance these works seem to be rooted in a minimalist aesthetic, Craft continues to infuse subculture iconography in to her works that references hippies, bikers and new age characteristics. The cubes double as architectural structures which house the other elements including Godzilla, palm trees, cushions, blooming vases, and floating figures. Craftsmanship is also a quality that is consistent through the artist's work as she meticulously constructs each sculpture. Craft currently lives and works in Los Angeles, and has exhibited in the 2004 Whitney Biennial and "Eden's Edge: Fifteen LA Artists" at the Hammer Museum in 2007. The artist also recently had her first monograph published by JRP Ringier/Halle fur Kunst which contains an introduction and interview by Bettina Steinbrugge, and essays by arts writer Bruce Hainley. | |||
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 In his eighth solo exhibition with the Andrea Rosen Gallery in Los Angeles, German-artist Wolfgang Tillmans is currently presenting a new series of photographic images titled "Atair." Tillmans continues his investigation in the nature of photography through the reinterpretation of portraits, still life and landscape imagery. Tillmans equally concerns himself with exhibition strategies that challenge traditional notions of display within a particular space. When speaking of his work the artist has stated "Accepting the insolvable nature of certain questions whilst continuing to research relentlessly is, for me, a viable way to engage reality." While the artist's content can change radically from piece to piece, what remains consistent is Tillman's ability to elevate mundane images to offer new insight through shifts in scale, layout and presentation. The artist has exhibited world-wide with recent exhibitions at P.S.1 Contemporary Art Center in New York City, Helsinki-Festival, Taidehalli, Helsinki, Museum of Contemporary Art, Chicago and UCLA Hammer Museum, Los Angeles. Next year, the artist will exhibit at the Museo Tamayo in Mexico City, Mexico. | |||
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 Kavi Gupta Gallery in Chicago is currently presenting a solo exhibition of new photographs titled "Security" by Minneapolis-based artist Paul Shambroom. The show leads the viewer through a reductive documentation of various power structures that represent the current state of democracy. The photos are taken at different facilities financed by the Department of Homeland Security. Shambroom's work is frozen somewhere between reality and fiction, depicting scenes that are isolated and sterile. Previous work for the artist has investigated democracy through civic duties being carried out in municipal buildings across Middle America. Shambroom has exhibited though out the US and Europe with solo exhibitions at the Museum of Contemporary Photography in Chicago, Walker Art Center in Minneapolis and Tanya Bonakdar Gallery in New York City. The artist has a mid-career survey exhibition with full catalog that is being organized by a three-museum consortium (Atlanta Contemporary Art Center, Weisman Art Museum, Univ. of Minnesota, Minneapolis, University Art Museum, Cal. State, Long Beach) and was recently awarded support by the Warhol Foundation. | |||
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 "Girl Parade" is a collaborative exhibition involving a series of international artists. The upcoming exhibition is to be held at the Australian Centre for Photography, Paddington, and will explore various experiences and issues involving women. Through the use of photography and video art practices, the artists delve into the fears of aging, bittersweet encounters with motherhood and female sexual desire. ">Belinda Mason's digitally altered inclusions reflect the artificial nature of woman's obsession with beauty, while Pilar Mata Dupont & Tarryn Gill's collaborative efforts focus on the use of pin-up girls as war propaganda. The exhibition also includes works by Japanese artist Tomoko Sawada, US Photographer Kelli Connell and German-Australian, Tatjana Plitt. The exhibition will be accompanied by "Twirling the Baton for Post, Post-Feminism," a gallery talk given by some of the contributing artists and curator, Bec Dean. | |||
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 Currently on view at The Lab 101 Gallery in Culver City, Los Angeles is the exhibition Replace 'Please' with 'Fast' 'Thank you' with 'Good,' featuring works by Australian-born artists, Anthony Lister, and Mark Whalen aka Kill Pixie along with San Diego-based artist, Kelsey Brookes. This will be the first time the three artists have exhibited all together, sharing their interest in the urban environment and the use of cultural and illustrative iconography in their work. Kelsey Brookes lives in Southern California, works as a both a painter and illustrator and is currently represented by the Lazarides Gallery in London. Mark Whalen is an artist living and working in Sydney, Australia, who has roots as a street artist. Now utilizing more delicate approaches, the artist still delivers the same uncompromising approach to his art making. Anthony Lister is an Australian-born painter has exhibited extensively through London, Europe, Australia, and the US. The artist explores his obvious childhood inspirations of comic characters in new ways to expose the underbelly of society. This exhibition marks The Lab 101 Gallery's third anniversary in their current space. | |||
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 On view until January 2008 at SITE in Santa Fe in New Mexico is a group show titled "The Disappeared / Los Desaparecidos." The exhibition contains work by 27 contemporary artists from Argentina, Brazil, Chile, Uruguay, Venezuela, Colombia and Guatemala. In the last decades of the twentieth century, disappear was used as a transitive verb to identify people who were kidnapped, tortured and killed by their own governments during the rule of military dictatorships. These artists' lives have been overwhelmingly affected by the politics in Latin America. Some of them worked in the resistance, while others had parents or siblings who disappeared and others were forced into exile. The youngest were born into the aftermath of those dictatorships. Below is the list of artists contributing to the show: Marcelo Brodsky, Luis Camnitzer, Juan Manuel Echavarria, Nelson Leirner, Sara Maneiro, Ivan Navarro, Oscar Munoz, Luis Gonzales Palma, Ana Tiscornia and Fernando Traverso. | |||
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 Indigenous Australian artist, Destiny Deacon presents issues of fanatical patriotism within her current exhibition "Whacked," at Roslyn Oxley9 Gallery, Sydney. Within the confrontational series, Deacon addresses misconceptions and stereotypes associated with racial prejudice. While exploring her fascination with new media practices including photography and video, Deacon also utilizes more traditional art forms, creating carpets and cushion covers imprinted with the sinister faces of her disturbing characters. Reflecting on recent events such as the racially motivated 2005 Cronulla riots, Deacon through her use of black humor, reflects on the increased sense of xenophobia caused by the fear of terrorism. Deacon's contemporary art practice often deals with issues of social stigma faced by Indigenous Australians, while the inclusion of black dolls as kitsch representations of Aboriginal people symbolize the way in which they have been silenced and forced into submission. The dolls often act as substitutes for real people and are able to both depersonalize and globalize the issues projected in her art. She has showcased her works on an international scale, becoming the only Australian artist to be selected for Documeta II in Germany, 2002. | |||
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 Artist Michael Scoggins is currently presenting a series of new text-based works in an exhibition titled "My Good, My Evil" at Freight and Volume in New York City. This will be the artist's second solo exhibition with the gallery. Scoggins signature hand-drawn notebook paper works are massive in scale, up to 67" x 51", and are carefully crafted to look as if they were simply ripped from a child's notebook. The artist's intentional sophomoric qualities offer a humor that is able to at once investigate social issues of race, American politics and childhood love. After a recent relocation from Savannah, GA, Scoggins now lives and works in Brooklyn, NY. The artist received an MFA from Savannah College of Art and Design and attended the Skowhegan School of Painting and Sculpture. This year Scoggins has exhibited with Adler & Co. in San Francisco and with D3 Projects in Bergamot Station in Santa Monica, CA. | |||
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 "Don't Mess with Texas" is a new exhibition on view at the Nathan Larramendy Gallery in Ojai, California. The show features the work of seven emergent Texas-based female artists including Amy Blakemore, Kelli Connell, Libby Black, Zoe Charlton, Virginia Fleck, Francesca Fuchs and Laura Lark. The exhibition aims to highlight Texas as a place of geographic isolation, while simultaneously investigating female identity through the region. Photographer Kelli Connell creates images that are constructed using Photoshop, utilizes herself as the primary subject and explores the idea of truth as she questions her own sexuality and gender role. Artist Libby Black makes life-size sculptures and paintings which she states examines "issues of class and expectations of perfections," through brand-name luxury items constructed out of paper, paint and hot glue. The exhibition successfully represents a diverse look at the Lone Star state today through a multitude of artistic perspectives and media. | |||
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 Opening next week at the Jeff Bailey Gallery in New York City will be "Focused Aggregate Intensity," an exhibition of new drawings and paintings by NYC-based artist Will Yackulic. This will be the artist's first solo exhibition in NYC, following successful shows at Gregory Lind Gallery and the Adobe Backroom Gallery, both in San Francisco. Yackulic has developed a geometric vocabulary that is built with a typewriter, gouache, watercolor and India ink, causing the visual plane to vibrate through optically intense patterning. The dominant spheres in the work pulsate through thousands of marks allowing the two-dimensional space to operate as a three-dimensional form. Often the work resonates as snow on an old TV screen or as planets floating in an indeterminate galaxy of information. The artist has participated in several U.S. and international group exhibitions including works at fa projects in London and Zentral Buro in Berlin, and received a BFA in Painting from the State University of New York at Purchase. Yackulic's works have been featured in both Modern Painters and Artforum Magazines. | |||
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 Tracey Emin's first Los Angeles solo show, "You Left Me Breathing", opened at Gagosian Gallery in Beverly Hills on November 2nd. Emin, who was shortlisted for the Turner Prize in 1999, is one of the hyped Young British Artists whose work gained notoriety in the mid 1990s. She recently represented Britain at the 2007 Venice Biennale, installing large-scale neon signs and drawings on the walls of the British Pavilion. Emin openly uses her life as her subject matter and her work vacillates between virtuosity and one-liner candor. Paintings, like "Reincarnation III" (2005), explicitly play on the expressive style of Edvard Munch while neon works, like "Very Happy Girl" (1999), are gaudy and blunt. Emin's expansive oeuvre includes sculpture, drawing, video, photography, and needlework and "You Left Me Breathing" emphasizes her ambiguous, controversial breadth. At Gagosian, Emin's confessional drawings, including "Family Suite II" (1994), hang alongside her crude, tongue-in-cheek textile assemblages and her flashy neon signs contrast her large, expressionistic paintings. The Gagosian show also features a recent series of delicate jesmonite sculptures that incorporate bronze, bundled wood, cement, and glass. | |||
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 Opening this Thursday at the Deitch Projects 76 Grand St. Gallery will be new works by painter Kurt Kauper. The exhibition, entitled "Everyone Knew That Canadians Were the Best Hockey Players," will feature four larger than life size figurative paintings, along with two other smaller paintings all of which reference vintage hockey stars. Within each portrait, the artist has removed the clothing from the subject, rendering the masculine sportsmen with a strong sense of vulnerability and defenselessness. The shows title was appropriated from a sportscaster who was noting the superior ability of Canadian professional players over Soviet Olympians. Despite popular thought, the Soviets nearly defeated the Canadians, and lost only after the Soviet's lead player was intentionally injured by a Canadian player. Kauper has stated, "images of hockey players are intended to teach boys how to behave like men," and his intention is to break the illusion of conventional expectations and offer the viewer something new entirely. This will be his first exhibition in NYC since 2005, partly because it takes him upwards of a year to complete a single work. Kauper had work included in the 2000 Whitney Biennial and in an exhibition titled "Dear Painter" at the Centre Pompidou in Paris, Kunsthalle Wien and Schirn Kunsthalle in Frankfurt. Kauper has taught at the School of the Museum of Fine Arts in Boston, Yale University School of Art in New Haven, and is currently a Professor at Queens College in NY. | |||
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 Currently on view at David Zwirner Gallery in New York City is an exhibition of new work by English-born artist Chris Ofili titled, "Devil's Pie." This show will feature works in painting, sculpture, printmaking and drawing, uniting the artist's interest in the themes of birth, death, seduction, and salvation. Religious references are also found in these works as the artist repeats and reinforces his imagery through multiple manifestations. Ofili is a graduate of the Royal College of Art, and first drew international acclaim during the 1990's through exhibiting with the Saatchi Gallery in North London and the traveling exhibition Sensation (1997). Ofili's work was the cause of much controversy when the exhibition traveled to the Brooklyn Museum of Art for "The Holy Virgin Mary," a painting of a black African Mary surrounded by images of black exploitation and close-ups of female genitalia, and elephant dung. The painting resulted in a law suit between the Brooklyn Museum of Art and Mayor of NYC, Rudy Giuliani. Ofili developed as member of the Young British Artists, exhibiting with the Serpentine Gallery and wining the Turner Prize. The same year, the artist represented Britain at the Venice Biennale. In addition to David Zwirner, Ofili is represented by Victoria Miro Gallery. | |||
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 Los Angeles artist Dawn Kasper is currently exhibiting a morbid series of photographs, Life and Death, at Hollywood's Circus Gallery. The sleek photographs in the exhibition document performances in which Kasper compulsively enacts her own death. Kasper's preoccupation with life's temporality has led to a diverse span of mock deaths over the last three years: she has enacted her own impalement, choked herself, bled herself, and imagined her body's decomposition. She staged a fatal car crash at Anna Helwing Gallery in 2004 and she was thrown out with the trash in a 2004 performance for Zurich's Migros Museum. Life and Death is the first exhibition to show all the documentations of her gruesome performances in the same space. When seen together, the photographs each read as scenes in a surreal drama and the show's glitzy, theatrical aura nicely accentuates Circus Gallery's Hollywood locale. Kasper received her BFA from Virginia Commonwealth University in 1999 and graduated from UCLA's MFA in New Genres program in 2003. Since then, she has shown in Los Angeles, New York and Zurich. | |||
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 Opening later this month in Los Angeles will be new work by Mark Mothersbaugh, one of the founding members of the band DEVO. "Rugs During Wartime and Peacetime," are a collection of works that are to be presented by the Scion Installation L.A. Gallery, which investigate how we interact with illustrative imagery in our home and how it can be used for comfort rather than conceptualism. Mothersbaugh has been creating illustrative works since the late 1960's, and as Devo rose to global success, the artist suddenly found himself with an immense audience that could be reached through the band's films, videos, costumes, LP covers, stage shows, and printed materials. Over the years, the artist has developed two major series of work, "The Postcard Diaries" and "Beautiful Mutants," both of which have toured the US extensively. The artist now creates musical scores for movies, TV, and computer games at Mutato Muzika Studios and he still tours with Devo worldwide.
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 New York-based artist Adam Shecter is currently exhibiting new works in a show titled "Fables," with David Castillo Gallery in Miami. The artist's work is founded on misinterpretations of his visual and musical experiences and is manifested in both two dimensional and time-based media. Shecter creates work based on his misinterpretations of movies, shows, posters, television, pop songs, and other related media. What results as his work is an attempted resolution of these mis-readings. The formal qualities of the artist's work, which are often animated or digitally produced, seem to reference pop culture, Disney, cartoons, and cinema. The artist received a B.A. in Film Studies from McGill University in Montreal, and in 2006, Shecter completed the Skowhegan Residency Program in Maine. That same year Printed Matter Inc. in NYC, a source for artist publications, produced his book "Like Ghosts." | |||
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 The Irish Museum of Modern Art (IMMA) is currently presenting the exhibition "Three," which features works by three leading artists from the IMMA Collection, Maria Simonds-Gooding, Charles Brady and Callum Innes. This is the beginning of an ongoing exhibition program by the IMMA which will bring three artists from the collection together for solo exhibitions that are placed in close proximity to one another. The new program allows viewers to experience the work alone or through a dialogue with the other shows as all three shows are physically linked. New-York born artist Charles Brady spent most of this life in Ireland and is recognized as a prominent painter known for his approach of treating everyday objects with grandeur. Maria Simonds-Godding works predominantly with plaster and fresco pigment referencing man's relationship to the land, and Scottish artist Callum Innes is an abstract painter who has developed an atmospheric aesthetic by removing paint with washes of turpentine. The exhibition is curated by Christina Kennedy, a Senior Curator and Head of Collections for the IMMA. | |||
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