On view at the Andrew Shire Gallery through June 13 is a group exhibition entitled, Clutter, featuring installation and sculpture from six California-based artists including Nancy Braver, Helen Chung, Carmen Daniel, Chris Ellis, Chris Sicat, and Keith Walsh. As the name suggests, the show prompts the viewer to consider the work as it exists in relation to the space. Each artist represents a different approach to presenting an object in space, causing the exhibition to be diverse, and both conceptually and visually appealing.

The work of Nancy Braver uses light as a primary means of projecting her geometric objects on to the wall. In, Ellipse 4 (Chubby), she uses an interesting combination of acrylic and stainless steel, and does not let negative space go to waste. Her laser cut shapes intend to play with the surrounding space and light, making its placement integral to the success of the composition.

Keith Walsh‘s furniture-like pieces question our conventional methods of organizing personal objects and memories. Through pieces like, Cab 3, 2007, Walsh suggests a new sense of order, one that challenges traditional notions of functionality.

Chelsea’s Black & White Gallery presents its latest group exhibition, Commune, curated by Dominique Nahas. The name deliberately refers to the various meanings and usages of the word “commune.” Nahas draws attention to the crucial role of the art community within society. The show itself emphasizes this importance by choosing to include works that are considered not to be expensive, making the artwork accessible to the greater community. This choice addresses the role of contemporary art itself in the midst of a struggling economy. The exhibition effectively presents ideas about artistic community and responsibility through the work of 24 international artists. Among the work is Chitra Ganesh‘s digital collage, Her Shimmer Pulse, 2008, which draws on both cultural and religious aspects of Hinduism. While, Oliver Lutz‘s video, Ascender, 2006, addresses the idea of the individual as a part or apart from their environment. With differing approaches, these artists draw on their community and surroundings to produce such work.

Dominique Nahas is both an independent curator and critic based in NYC. He is a professor at Pratt Institute and has contributed to publications such as Art in America and d’Art International.

The Gagosian Gallery in Beverly Hills, recently held an exhibition showcasing photographs and sculpture by filmmaker John Waters. Entitled, Rear Projection, the name is derived from the term as used to describe a special film effect in which a background is projected onto a screen behind actors in the studio. This now dated method began in the 1930s, showing characters driving in cars and scenes when motion, without variability, was necessary. For this show, Waters photographed and edited scenes from existing films. He manipulates his photos in a way that exploits general perceptions of Hollywood. For example, Children Who Smoke, presents us with child stars, like Shirley Temple, with a cigarette in their mouths. The bizarre humor and satire we expect from Waters is present in the subject matter and perspective of these works.

John Waters was born, raised, and inspired by the city of Baltimore, where his films are still shot on location. He has become a cult figure in the film community. Waters has always insisted on addressing taboo subjects like sexuality, drugs, and religion, in what some may call a callous manner. His most popular films include Pink Flamingos (1972), Hairspray (1988), and more recently Pecker (1998).

On view at David Patton Gallery in Los Angeles until May 30, is Jeff Jamieson’s latest exhibition, Sculpture. This marks the second solo show at the gallery for the San Luis Obispo based artist. Both Jamieson’s history and the history of sculpture are visually present in the works, reminding the viewer of the importance of the past.

Opposing forces are at work, the artist juxtaposes the unique attitude of West Coast art with that of the East Coast. Jamieson currently lives and works in California, but was once an assistant to Donald Judd and a maker of Judd furniture. Together, these experiences have shaped his approach and method. The presentation of these clean-lined sculptures resting on the floor recalls that of Judd’s later, renowned minimalist work. Jamieson’s choice of material includes wood and metals like the minimalists, but departs in his choice of color, employing intense blues and yellows. Minimalism sought to present forms as a whole, or unit, while these pieces suggest the human form, and emphasize its parts. The artist’s process intentionally reveals a hand-made quality, without drawing attention to the fact. The pieces are situated in a manner that urges the viewer to investigate the surrounding space, and ultimately themselves.

On view at Salon 94 Freemans until June 13 is Marilyn Minter’s exhibition entitled, Green Pink Caviar. Minter is known for her interest in exploring the boundaries between high and low art. Not only does the work itself express this dichotomy, so does her method of exhibition, choosing to display her photographs on billboards and commercials, as well as in the gallery. Evident through her extensive use of erogenous zones as subject matter, Minter considers the body to be steeped in yearning and desire. Green Pink Caviar is a collection of photorealistic paintings and graphic photographs. Salon 94 describes the process, in which “[Minter] directed her models to lick brightly colored candy on a sheet of glass and then photographed them from the other side.”The glass sheet can be compared to a canvas, the candy as paint, and the body as brush.

Minter was born in Shreveport, Louisiana. She received her BFA from University of Florida and MFA from Syracuse University. Recently, her work has been exhibited at Fotomuseum Winterthur, Switzerland, and the San Francisco Museum of Modern Art. She has upcoming shows at the Contemporary Art Center Cincinnati, Regen Projects, Santa Monica, and La Conservera, Spain.

Last Thursday marked the opening of Adriana Varejao‘s new exhibition at Lehmann Maupin, Two Paintings and Ten Drawings, which will run through July 10. The works in the show appear more subdued than many of her previous works, but don’t be fooled. After more consideration, the viewer is confronted with an exhibition full of art historical references and cultural histories. The lines and forms are reductive and analytical, recalling aspects of both minimalism and cubism. Her dynamism is reflected by her skill in many disciplines, focusing for this exhibition on painting and drawing. The works range in size from small graphite on paper pieces to the largest work, O Iluminado (The Shining), which is oil on linen. The architectural drawings of an otherwise sterile sauna are imbued with an emotion through color and light.

Varejao is one of the most significant contemporary artists to come out of Brazil. Born and raised in Rio di Janeiro, her work continues to be influenced by her experience growing up in South America. Her accomplishments include pieces in collections at the Tate Modern, London, Guggenheim, NYC, Hara Museum, Tokyo, and Museum of Contemporary Art, San Diego.

Londoner Bob Matthews’ latest exhibition entitled, Garden Ruin, is on view at the Gregory Lind Gallery, San Francisco, from May 7 though June 27. Garden Ruin addresses the familiar issue of humans in nature, or in this case, superimposed on nature. Matthews’ landscapes have a certain untamed quality, likely resulting from exposure to the English style of landscape design. Although highly stylized, the English garden is known to be less formal than its strictly symmetrical French counterpart, appearing as if it occurred naturally.

There is a striking visual dichotomy present his work, especially in the oil and acrylic on wood piece Human don’t be angry. The natural wood panel contrasts with the perspectival, geometric image and shiny varnish to raise viewers’ awareness of these contributing elements. Prints like, Garden Ruin 1, broach the subject differently, by superimposing shapes over nature scenes. Without being overbearing, these shapes suggest the presence of humans in the landscape, creating a visually and psychologically unique composition.

Bob Matthews currently lives in London. He teaches at his alma mater, the Royal College of Art, where he received his MA in Printmaking. His recent curatorial endeavors include shows at Cell Project Space, London, and Aspen Museum of Contemporary Art. He has exhibited in London at the Collyer Bristow Gallery, Monika Bobinska, and the Keith Talent Gallery.

AMBACH & RICE in Seattle is currently presenting Supramundane, a group exhibition guest curated by Elizabeth Burke. On view until May 31st are works in various media by Tomoo Gokita, Robyn O’Neil, Sara Greenberger Rafferty, Alison Elizabeth Taylor, and Whiting Tennis.

Surpamundane is a Buddhist term that means “being situated above the world or above our system; celestial.” This enlightened state is achieved through intense and committed training. Often when artists address notions of supramundane, their work implies they have already achieved such enlightenment. Burke suggests an alternative approach, stressing the artist’s struggle leading up to this point. The show is intentionally open for interpretation, which is merely a reflection of the nature and process of supramundane. The organization of Supramundane suggests and encourages thought in the viewer, while restraining from shaping those thoughts specifically. The artists explore elements of the unknown through their preferred media, ranging from Rafferty’s high contrast black and white prints on Plexiglas to Whiting Tennis’ plywood creations.

Burke attended Guilford College in North Carolina where she received her BA. Years later she was a founder of the late Clementine Gallery, in NYC, and currently teaches Graduate courses at the School of Visual Arts, NYC.

Currently on view at Dallas’ PanAmerican ArtProjects, with one week remaining, is Aperture – A Photographic Opening. This group exhibition samples the work of six photographers including Andrea Cote, Gory, Daniel Joglar, Jane Martin, Pablo Soria, and Laura Wilson. Each artist employs a different photographic technique, ranging from Wilson’s more traditional landscapes to Cotes’ unconventional self-portraits.

Andrea Cote’s black and white digital self-portraits are indicative of her desire to engage multimedia. She works in photography, painting, video, and installation. Her time as an artist’s model influenced her view of the artist and subject. She explores the concerns of this relationship with sensitivity to pressures associated with the image of the body.

The color-toned photographs of Cuban born artist Gory focuses on process rather than product, suggesting we question the nature of reality.

PanAmerican’s mission is “to build a bridge between North and South American cultures by presenting and exhibiting artists from both regions concurrently” and the show does just this. It not only includes two Latin American artists and three Americans but both male and female, there is a wide range of representation. PA opened their doors in 1990 as Galerie Malraux in LA. In 1994, they moved to Dallas and have since established themselves in Miami as well.

The recent work of Amelie Chabannes is vivid, delicate, and contemplative, begging the question of identity. Her medium varies tremendously and includes sculpture, drawing, and painting. She attributes her technique to that of the automatic surrealists. Some of her drawings recall those of Andre Masson. This in mind, a thematic continuity emerges when looking at body of her work. Like those before her, Chabannes is intrigued by the ever-changing unconscious. She explores this subject and subsequently proves its infinite nature.

Her compositions are unique. Often there is a focal point created by bold color and rich patterns. These forms anchor the composition. The color can be described as bright, fruity, and intense. Meandering lines reflect exploration of the subject of identity, engaging endless possibilities.

Amelie Chabannes was born Paris and graduated ENSAD in 2000. She now lives and works in Brooklyn. Her work has been exhibited around the world. She is represented by LUXE Gallery.

The opening of Wish You Were Here marked a milestone for young painter Julienne Hsu. The exhibition ran from March 9th through the 13th at CGU’s East Gallery. It was Hsu’s first solo exhibition sampling her work from the past few years. The exhibition featured a variety of subjects including dogs, humans, and machines. Her concern lies in the juxtaposition of nature and the imposition of man. Although Hsu deliberately limits the objects in her paintings, the viewer is still able to come to their own conclusion about the morality of the subject. Hsu has found a noteworthy balance – presenting subject matter and formal style – without allowing one to dominate the other. At first glance, the color appears bold and dark, but is often punctuated by a carefully decided upon bright hue. The formal qualities of paint application and color palette creates an interesting emotive relationship between the subject and the viewer. The resulting psychology helps to extend the potential for dialogue between the works.

Hsu was born in Taiwan and immigrated to the US at the age of fifteen. Since then, she has been living and working in Los Angeles. Hsu received a BFA from the Art Center College of Design and is currently an MFA candidate at Claremont Graduate University, graduating this year.