Join us for the Opening Reception on Saturday, September 9, 6-9 pm. Exhibit runs through October 13th.
Flora Kao's ambitious Homeland features large-scale rubbings from the decaying walls of a house, garden, and colonial storehouse in Taiwan. Exploring touch, bodily knowledge, and family history, Homeland is a wistful attempt to capture traces of structures on the verge of disappearing. These gestural rubbings serve as a physical anchor for memory and longing, a site of remembrance for what is lost.
Karchi Perlmann's LA Rhapsody - Super Moon / Opus No.1 is as a life-size, lyrical, 270º panoramic cityscape with the majesty and beauty Angolino's came to expect from many of the city's mountaintop views. However, the scrupulous details of the photograph slowly reveal an image that shrouds a host of narratives and events - sometimes even coming too close to comfort. The sense of beauty from the initial encounter is ultimately derailed by the common voyeuristic curiosity we all share, the fly-on-the-wall privy or the urge to discover hidden details and identify the recognizable. This is all underscored by a sound installation, which subtly reflects the enigmatic life we see. It is this seductive pull that surreptitiously leads the spectator to confront the realities of social and economic dissonance currently defining this great city of Los Angeles.
John Rosewall's exhibit of new and recent paintings, Grip, examines the relationship between the powerful and powerless in today's United States-led global world order. The works are based on photographs appropriated from a wide variety of sources as well as photographs taken by the artist himself using models in the studio. Before and during the painting process, Rosewall modifies the images in various ways, removing unnecessary elements, highlighting others, combining multiple photographs, distilling the images to their essentials, in order to create the individual works which, taken together, provide an over-arching narrative of our current political situation. The installation asks the viewer to follow the contemporary vectors of influence that run from West to East, from First to Third World, from the capitals where half-secret deals are made to the streets and countrysides where they are enforced via repression, exploitation, and obscene violence.
Ken Weingart's exhibit Motel Stories is a series of photographs that document an inner world behind the closed doors of motel rooms. It is a glimpse inside the American underbelly of the universe: desperation, joy, hidden yearnings, and fears. It reflects contemporary society's appetite for voyeuristic entertainment. American motels are a metaphor for isolation and uncertainty.