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LA Times: Ryan Callis

August 12, 2017 - David Pagel

If an early 20th century painting by Arthur Dove had a love child with an early 21st century emoji, it might look like one of Ryan Callis’ seven new paintings at Edward Cella Art & Architecture.

Dove’s DNA can be seen in the compositional sophistication Ryan brings to his paintings, mixing representational elements with geometric shapes, both simple and fanciful. Part of paintings fall into place with their neighbors while never feeling cramped or crowded.

The muscular colors and slippery tonal shifts Dove (1880-1946) deployed to construct his dynamic landscapes lives on in the visual electricity of Ryan’s idiosyncratic palette, whose funky juxtapositions of organic and unnatural tints are a bit more jittery yet cut from the same cloth.

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C-File Feature: Brad Miller

July 25, 2017

LOS ANGELES — Southern California-based sculptor and ceramic artist Brad Miller’s latest exhibition Brad Miller: Stones & Object Relations Theory at Edward Cella gallery (July 22 – August 19, 2017) aligns with his keenness and curiosity for organic forms and our psychoanalytic relationships to them featuring lichen-like texture and hand-made stones. Recalling this layered frenzied energy in his Venice Beach studio, Miller physically interacts with his work applying layer after layer of slip and paint, firing, torching, sanding, tumbling and grinding away the layers. This graduall process reveals their temporary condition as objects that change according to the needs of those who use them. Employing methods of abstract expressionism and conceptualism, Miller orchestrates accidents to build forms that mirror found stones and paintings that could be sculptures in an exacting manner.

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SurfSimply Magazine: Ryan Callis Interview

July 22, 2017 - Mat Arney

“Surf Art” is often an incorrect label to hang on the work of many artists whose life as a surfer might sometimes influence their work. Ryan Callis is a surfer and an artist, but his critically acclaimed art stands separate and you’d be hard pushed to tell that he is an avid, daily, surfer from looking at the majority of his output. His most recent exhibition Ocean Memories, which opens this weekend at the Edward Cella Art and Architecture Gallery in Los Angeles, draws almost exclusively upon his experiences as a surfer however; Surf Simply caught up with Ryan between returning from a trip to Hawaii and the opening of the exhibition to find out more about how and why he’s finally brought the two together.

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Artillery Magazine: Alex Slade in 2017 California-Pacific Triennial

July 4, 2017 - Christopher Michno

“Building As Ever,” the 2017 California-Pacific Triennial at the Orange County Museum of Art, investigates the economic, political and social forces that affect the built environment. Themes of gentrification and dislocation, meditations about home and displacement, and discursive considerations of architecture emerge in works from 25 contributors, who live and work in 11 countries along the Pacific Rim. Many of the exhibitors are trained architects, and the contributions blur distinctions between art and architecture.

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LA Times on Alex Schweder: Architecture Catches the Performance Bug

June 29, 2017 - Christopher Hawthorne

..This month Schweder - calling himself the Schweder Office of Architectural Performances, or SOAP - brought a new performance piece, "Architectural Advice for Performative Renovations," to Edward Cella Art & Architecture, the gallery on La Cienega Boulevard. It's part of a new annual show there called "Vernacular Environments," which in this edition includes work by Robert Smithson, Stephen Berens, Jennifer Bolande and Raúl Cordero, among others.

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Review: ArtScene

June 28, 2017 - James Daichendt

..From Spiral Jetty to the present day, artists continue to push the way we interact with our environment. 'Vernacular Environments, Part 1' offers a number of aesthetically provocative perspectives that encourage us to reflect this inquiry..

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Art in America: A Day at the Beach, Walking with David Horvitz

June 28, 2017 - David Matorin

On the morning of June 10, as part of the group show "Paratextual," curated by Asha Bukojemsky at Samuel Freeman Gallery in Los Angeles (May 13–June 17), the LA-based artist David Horvitz led an off-site excursion to a public beach in Rancho Palos Verdes. A live addendum to his work Public Access (2010–11), which is included in "Paratextual," the artist guided a group of about twelve participants on a walk-and-talk to one of the beaches he photographed in the original project.

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Artillery Magazine: Review of Vernacular Environments

June 28, 2017 - Ida Safari

..Exploring the dialectic relationship between environments-both built and natural-and the figures that occupy those spaces, Vernacular Environments, Part 1 brings to light the complexities and temporality of the vernacular..

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Art & Cake LA: Review of Marvel

April 8, 2017 - Amy Kaeser

Now through May 6th Kendell Carter’s solo show, Marvel is at Edward Cella Art & Architecture on La Cienega Boulevard, Los Angeles. An innovative set of site-specific installations, or “environments” as Carter prefers to call them; Marvel attempts to present meditations on race, gender, material culture, and shared history. As an artists who’s practice has continually transected the divide between art and life, Carter’s latest show casts its net far and wide to critique contemporary issues and policies: the police shootings of Keith Lamont Scott and North Carolina’s abject neglect of its LBGTQ communities, to representations of the South’s notorious “Jim Crow” laws of the 1950s. Carter’s willingness to confront and renegotiate the meaning of objects and attitudes of our highly charged socio-political moment is indicative of an artistic practice that is aware of the impact of visual culture.

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Artforum: Alex Schweder's ReActor

April 5, 2017 - Cynthia Davidson

The rituals of domesticity have long been a focus for cutting-edge practices in both art and architecture. Examples abound: Architects Elizabeth Diller and Ricardo Scofidio slyly subverted the politics of gender and labor underpinning household chores in their Bad Pres: Housework Series, 1993-98, which included a set of men's dress shirts pressed into bizarre shapes according to "Instructions for a Dissident Ironing"; artists Arakawa and Madeline Gins literally recalibrated the topography of the domestic landscape in their 2008 Bioscleave House (Lifespan Extending Villa), which sought nothing less than to challenge humankind's acceptance of its own mortality. Over the past ten years, the artists Alex Schweder and Ward Shelley have made a significant contribution to this ongoing and  cross-disciplinary inquiry, teaming up to test the relationships between architecture and domestic inhabitation in four performance projects, the most recent of which is ReActor, 2016, a boxcar-like-structure balanced on a single column and set on a hilltop at the Omi International Arts Center in Ghent, New York. 

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