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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.


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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St. Louis Magazine: Kendell Carter

April 1, 2017 - Chelsie Hollis

"Transparency Shade: Seeing Through the Shadow," examines postcolonial identity at projects+gallery

Next week, St. Louis will have the chance to view new work from contemporary artists hailing from Antwerp, England, California, Johannesburg, Frankfurt, New York—and St. Louis. Curated by Senegal-born, Portland-based multi-disciplinary artist Modou Dieng, Transparency Shade: Seeing Through the Shadow is a group exhibition of 2- and 3-D artworks opening at projects+gallery in the Central West End on April 7. The show will feature work by Philip Aguirre y Otegui, Zoe Buckman, Kendell Carter, Ayana Jackson, Michael Riedel, and Hank Willis Thomas. St. Louis is represented by Kahlil Irving, who is currently best-known for his sculptural vessels, but who produces work in multiple mediums, including printmaking. Transparency Shade's theme is the complex system of signs and symbols that arise around race, gender, and self-concept, and how they continue to develop in new trans-cultural and hybrid forms. The artists are working in wide spectrum of media, including photography, printmaking, sculpture, and ceramics; pop culture is an inspiration for several of them, and many tend to mix, match, and hybridize forms. "We have about 25 pieces in this show—and of course few of them comprised of multiple objects in an installation form," Dieng says.


Visual Art Source: Patti Oleon

March 31, 2017 - John Zotos

Patti Oleon’s newest series of paintings are grouped under the title “Neither Here Nor There.” They represent the fruits of a 2013 Guggenheim fellowship that allowed Oleon to travel Europe for source material. In her visits to Budapest, Prague, Venice, Berlin and Istanbul, she photographed the interiors of restaurants, hotel lobbies, museums, palaces and theaters, chosen for their historical significance. These public spaces were often teeming with people, something you would never know looking at the final product, wherein Oleon edits the images, concentrating on the physical surroundings.  Her interest lies in the manipulation of pictorial space through the reorganization, layering and mirroring of interior and architectural design elements. Her particular talent lies in creating mysterious virtual worlds filled with compelling reflections of light, sometimes in deep focus.


Artscope Magazine: Guerrero at Eastern Connecticut University

March 31, 2017 - Kristin Nord

 Guerrero and Wright: Architecture Stories: Photographs by Pedro E. Guerrero at The Art Gallery at Eastern Connecticut State University

Willimantic, CT  – The year was 1939 — when the then 22-year-old Pedro E. Guerrero, his portfolio in hand, arrived at Taliesin West in Scottsdale in search of a job. Frank Lloyd Wright, in the midst of building the campus, needed someone to document the process. Despite the paltry pay and lack of job security, Guerrero signed on.

Wright had made an uncanny choice in hiring the young man who’d just narrowly escaped the segregated schools and pervasive prejudice of Mesa, Ariz. Guerrero’s intelligence and quick wit would stand him in good staid with the boss, and his remarkable portraits of Wright suggest the ease with which the two took to each other’s company. There was no question but that Guerrero would play a significant role in reinvigorating Wright’s career; his iconic photographs continue to exert a force.


Pedro E. Guerrero

February 3, 2017 - Scarlet Cheng

(Edward Cella Art & Architecture, Culver City) Pedro E. Guerrero was a photographer who is now being rediscovered, especially after the documentary "Pedro E. Guerrero: A Photographer's Journey" was aired on PBS a couple years ago. In 1939 when he was 22, he found his life's calling when hired by Frank Lloyd Wright to shoot the construction of Taliesin West. Wright so liked the results that he invited the young man to join his Fellowship, and Guerrero documented the architect's work for the next two decades. 


Article: Albertini 2014

December 28, 2016 - Rosanna Albertini

So what does good art do in 2016 that is different from the time of the Renaissance. Satan took his revenge then more than now, killing the artists, and everybody else, at a very young age. If you take it cum grano salis, simply following your good sense, you might say ‘a lot,’ and yet there is no change in the dreamlike essence of art. Think of Piero della Francesca painted eyes looking into eternity, almost extracting their bodies from earthly, painful struggles for survival. Good artists know perfectly that names and images and facts are masks of inner uncertainties, like stickers we peel from the refrigerator. We still don’t remember what’s inside.The point is our presence in the landscape: and Jeffrey Vallance is the wizard artist showing our uncomfortable loss of power once our ordinary self confidence goes to hell. Satan’s most subtle intrusion. What happens then? There is no more separation between our animal self and the tentacular temptations of a rationalized landscape reducing to dead meat our hopes and desires.

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Celebrating a Rugged Vision of Landscape Architecture

December 23, 2016 - Alexandra Lange

A waterfall flows in downtown Portland, Ore., ribbons and rivulets of water cascading over slabs of rough, reddish concrete into pools filled with wading children in the summer. Down a tree-lined path, great planted hills pop from the sidewalk. A stepped basin opens up between buildings, looking like a natural spring bursting through the pavement.These bold environments, strung across an eight-block section in the city center, were designed by the modernist landscape architect Lawrence Halprin and his firm between 1965 and 1970, and listed on the National Register of Historic Places in 2013. They are celebrated, along with more than two dozen other parks, pools, and gardens, in "The Landscape Architecture of Lawrence Halprin” an exhibition in Washington commemorating Mr. Halprin’s centennial that runs through April 16.

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Datebook: Los Angeles Times

December 1, 2016 - Carolina A. Miranda

An artist known for drawing from a wide array of media that brings together both painting and performance, Vallance's latest exhibition takes on the election, among other subjects, in collages that feature political placards along with the artist's expressive drawings. These are visceral assemblages that wryly comment on the nature of beauraucracy, corruption, politics, and society-- in ways that are way more fun than CNN. 

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Review: Huffington Post

November 23, 2016 - Juri Koll

I was out gallery-hopping along La Cienega Blvd. one sunny day just before the election, and walked into Edward Cella's gallery. It was the end of the previous show. There were drawings leaning against the wall in the reception area that I recognized as Jeffrey Vallance's work, and inquired about one of the smaller ones (which later sold at the opening unfortunately). The Registrar, Sarah, and her gallery-mate John, were very open, enthusiastic about the show coming up. Later Mr. Cella came out and greeted me warmly - we had just met. To (perhaps) repeat an abused term, I immediately realized the uniquely casual atmosphere in the gallery reflected the artist’s ‘temperament’. Jeffrey’s work has always intrigued me because of the wide variety of media used, his relationship to his personal experiences, how he finds himself in unusual situations, to be absorbed, utilized, responded to. After a brief how-do-you-do at the opening I left him to his own devices, as he is engaging and conversational, anything but aloof to the attention paid to him in public. 

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From Abstract Icons to Metaphysical Glyphs | City of the Seekers

November 23, 2016 - Tanja M. Laden

When religious and cultural symbols are removed from their corresponding set of principles, iconography becomes a series of abstract glyphs. In her art practice, Helen Rebekah Garber extracts the images and representations tied to religion while deflecting established aesthetic structures, and her dismantling of the building blocks of ideology leads to a compellingly nonrepresentational visual lexicon.Garber approaches each piece of her art as though she's forming a kind of visual riddle or invocation. "I’m interested in iconic form and also the dissection of that form with intricate subparts that provide further details relating to the entire context," Garber tells The Creators Project. "Peak experiences in the abstract and the underlying patterns in nature are also recurring themes within my work. Codexes act as delivery systems for secret messages."

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Feature: Argonaut Online

November 17, 2016 - Christina Campodonico

Three big names ran for president this year, but the one you didn’t see on your ballot was that of artist Jeffrey Vallance. While Trump and Clinton were duking it out, Vallance ran his own mock campaign of sorts — building a platform based on vintage campaign slogans, automatic writing and symbols that have reoccurred throughout his decades-long career as one of Los Angeles’ most provocative and pioneering artists. Known as an infiltration artist and something of a professional prankster, Vallance has made a name for himself by investigating and inserting himself into institutional processes both bureaucratic and arcane.

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Pick of the Week: Artillery

November 17, 2016 - Ezrha Jean Black

Jeffrey Vallance was already something of a legend when I first became acquainted with his work – an ‘interventionist’ style of conceptual art in which the performance became a kind of deconstructed cultural inquiry. My first impression came by way of captioned illustrations with accompanying narrative (appearing in the L.A. Weekly), a kind of anthropological scrapbook replete with schematic drawings of quasi-iconic images, national insignia, commercial artifacts, transit documents and correspondence with government bureaucrats.

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Review: Artscene

November 1, 2016 - Jody Zellen

Jeffrey Vallance has attained something akin to cult status. His work covers a wide range of media and is based on consumer and popular culture, and is ironically critical without being didactic. Vallance never makes fun of his subjects, but rather uses what is around him--be it a store bought chicken, the work of Thomas Kinkade or President Richard Nixon-- to explore how context can shape meaning. 

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Critics Picks: Art Ltd.

November 1, 2016 - Molly Enholm

A confluence of odd bedfellows is the hallmark of Jeffrey Vallance's irreverent approach to art-making, use of materials, his amalgamations of popular culture, religion, tradition, the election, and the whole lot of it. Recently, Vallance has ventured down two divergent paths: the first, a series of works on paper collectively titled Rudis Tractus; the other veering into the realm of social media, which critic Doug Harvey describes in the show's catalogue as a means "to prod and probe the new social boundaries and mechanisms generated by the new technology." 

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Review: Artforum

November 1, 2016 - Bruce Hainley

On July 28, 2016, Richard Prince retweeted an item from curator Marvin Heiferman's feed about a $1 billion copyright-infringement suit that photographer Carol Highsmith had just filed against the stock-photo agencies Getty and Alamy, charging "gross misuse." Earlier that day, Prince had tweeted a picture of a slightly enlarged black-and-white photocopy of this short 1977 text "Practicing Without a License." He commented: "Feel like I got hacked. Or waxed. Or whacked. Micki'd. Surprised they didn't have my underwear on display. Shame." 

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Review: Artscene

October 1, 2016 - Genie Davis

Jun Kaneko’s Mirage appears to be just that, images so impossible and arresting that we stop to take it all in. One of the most visually pleasurable and immersive exhibitions I’ve seen recently, Kaneko’s large-scale works are astonishing in their complexity. 

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Rule Breakers

September 22, 2016 - Rosa Bertoli

As the London Design Festival broadens its scope to become a major public event, it is also expanding its physical presence in the city, giving historical spaces a new lease of life through exhibitions and installations. This year's main event includes a residency over ten rooms of Somerset House's West Wing, with ten international designers given carte blanche to get creative with their spaces.

Featured projects will include installations with a technological bent, such as the work of German director Tino Schaedler and architecture studio United Realities, exploring the links between the physical and the digital, and Jasper Morrison's designs for Punkt (as seen in W*195), which feature in an exhibition focusing on our relationship with technology. There will be more purely aesthetic exercises, such as Arik Levy and Tabanliogu Architects' installation exploring the theme of transparency; practical displays, including Paperless Post and Patternity's series of digital invitations; and two reading rooms, one by Edward Barber and Jay Osgerby in collaboration with Knoll, and another by London designer Faye Toogood, whose project recreates a derelict country house.

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Manny Krakowski at Monte Vista Projects

September 2, 2016 - Aaron Horst

A looped glass pipe rises out and returns through the top of a freezer in Manny Krakowski’s A Simple Chemistry Experiment Explained as a Monument, currently on view at Monte Vista Projects. Shorn of insulation at its turning point, the pipe reveals a steady flow of cooled (salt) water, its outer condensation dripping onto a piece of synthetic marble below.

The quotidian object in art easily tempts cynicism. To his credit, Krakowski demonstrates that it might still provoke thought—or at least curiosity, for those of us plunged into ponderance by the hum of a compressor. Krakowski’s appliance is transformed, in a manner both subtle and extreme: its innards foregrounded, its intended function left in the dust. Less clear is its relation to the surrounding, accessorized tableau, comprising two immaculate blown-glass orbs, real and synthetic marble, a steel armature smeared in a patina-ing sunscreen (Coppertone?), and overextended aspirations into the digital realm via a materials list reference to “virtual space,” which directs to a vague, appreciably scenic webpage. 

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Feature: New York Times Style Magazine

August 4, 2016 - Laura Neilson

"For Alex Schweder and Ward Shelley, the term “artist in residence” is often a very literal one: Collaborators since 2007, the pair practice what Schweder describes as “performance architecture,” or the exploration of how inhabiting a space affects us, psychologically. So they build interesting structures, and then move in."

Star Attraction: The Wallpaper* Arcade, by Jean Nouvel Design, Neal Feay Company and Sapa

July 29, 2016 - Amy Serafin

Checking into Hotel Wallpaper*, this year’s Handmade exhibition at the Salone del Mobile in Milan, proved to be an awe-inspiring experience: a passageway lined with enormous aluminium shapes, bathed in coloured light. The installation was a collaborative effort between a top aluminium supplier, a leader in creative aluminium treatment, and one of the world’s greatest architects.

The Wallpaper* event occupied an arcade in via San Gregorio, for the second year. ‘A humble location,’ says Alex Rasmussen, president of the Santa Barbara-based aluminium fabricator Neal Feay Company, describing it as a ‘crummy, post-war Italian condominium complex’ with ‘oddball storefronts’ and dog-walking residents passing through on their way to the lifts.

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Review: The Daily Beast

July 15, 2016 - Blake Gopnik

"These two iPhones are all there is to “The Distance of a Day”, an installation by the young Brooklyner David Horvitz that I just saw at the Art Basel fair, in the booth of Berlin’s Chert gallery. Last February, Horvitz got his mom to record a video of the sunset over the sea near Los Angeles, where he was born and grew up. At the same moment that she was taping, he was at a point almost opposite her on the globe, in the Maldives, taping the same sun as it rose."

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Feature: The Huffington Post

July 15, 2016 - Sarah DiGiulio

"We track a lot of data about ourselves. Steps walked, stairs climbed, heart rate and, if you wear an Apple watch, skin temperature.

People don’t know what to do with it, artist Laurie Frick told The Huffington Post. Some people get creeped out by all the data. Some people find it uncomfortable. Yet, according to Frick, 'it’s the secret about who we are.'

'I think in the future we’re going to consume our data as art,' she said. 'I think it’s going to be irresistible.'"

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Artist Profile: Santa Barbara Independent

July 1, 2016 - Eden Turner

"Although Legrady began in the field of fine arts photography, he transitioned to digital technologies in the mid-1980s. Now he’s considered a new-media pioneer. His work focuses on photographic-based media, interactive digital media installations, and computationally generated visualizations."

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Feature: Ceramic Monthly

July 1, 2016 - Glen R. Brown

We are so pleased for gallery artist, Jun Kaneko, whose sculptures Glen Brown calls "a
harmony of the eternal and the ephemeral, of geological epochs and biological lifetimes, of the persistence of inanimate matter and the fleeting, nebulous nature of the living," in Ceramics Monthly

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Review: Flaunt Magazine

June 24, 2016 - Alexandra Creed

Richard Prince: The Douglas Blair Turnbaugh Collection (1977-1988)
June 11 - July 30, 2016

"The exhibition is a rare and fascinating experience that provides an intimate look into the inner workings of an artist’s processes.  It is a testament to Prince’s pattern of reshaping the mold and pushing the boundaries of art through the showcased pieces, leaving visitors with the ultimate place of study."

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Review: Argonaut Online

June 22, 2016 - Christina Campodonico

Richard Prince: The Douglas Blair Turnbaugh Collection (1977-1988)
June 11 - July 30, 2016 

"'He told me when we first met that his big ambition in life was to write a song that would be playing on all the car radios all across America. And I thought that was a very peculiar ambition,' says Turnbaugh. 'But you need to translate it. He meant he wanted to be famous, and he is.'"

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Preview: Modern Magazine

May 26, 2016 - Marieke Treilhard

Richard Prince: The Douglas Blair Turnbaugh Collection (1977-1988), June 11 - July 16 at Edward Cella Art & Architecture. 

"Artist Richard Prince is no stranger to controversy. An early pioneer of appropriation art, Prince spent the 1970's and 80's undermining the necessity of authorship in art, re-photogrpahing exisitng images and modifying them only minimally to make them his own. ... With an uncanny ability to tranform the context an dmeaning of an image with a simple gesture or minimal material intervention, Prince established himself as an expert in confiscation and concision."

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Exhibition Catalogue

May 26, 2016

The exhibition catalogue for Richard Prince: The Douglas Blair Turnbaugh Collection (1977-1988) includes essays by Douglas Blair Turnbaugh, exhibition curator Carole Ann Klonarides, and rare books and ephemera dealer Jeremy Sanders, plus a detailed list of items included in the archive with previously unpublished images of letters, exhibition ephemera, and objects. The catalogue is published in a limited edition, hard copies are available through the gallery. 

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Documentary - Lynn Aldrich: Uncommon Artist

May 6, 2016 - John Schmidt

Lynn Aldrich: Uncommon Artist is a documentary film that provides a poetically rendered portrait of Los Angeles-based sculptor Lynn Aldrich, a Guggenheim Fellowship recipient who attends to the most commonplace objects of consumer culture in the most uncommon ways.

Her artworks traffic in the readymade materiality of items purchased in hardware, craft, and office supply stores but Aldrich's handling and re-presentation of these materials consistently evoke and explore the possibility that transcendent orders of meaning are always shining through even the most trivial aspects of life. Beautifully shot and edited by filmmaker John Schmidt, this film opens a window into Aldrich's studio in the month leading up to her 2015 exhibition at Edward Cella Art & Architecture, Los Angeles. 

To watch the full documentary, click here.

Feature: Observer Culture

May 5, 2016 - Ryan Steadman

Frieze Projects at Frieze New York 2016

May 4-7, 2016

“The mystery person we’re looking for is actually an art piece—a professional pickpocket (or more accurately, a ‘slight-of-hand expert’) that the artist hired to secretly accost fair visitors. But the catch? Instead of taking valuables from Frieze guests, Mr. or Ms. X will be gifting them small sculptures designed by Mr. Horvitz in an edition of 1000.”

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Feature: The Standard Culture

May 5, 2016 - William J. Simmons

"At the bottom of artist David Horvitz’s website, there is a ubiquitous PayPal button accompanied by the text, “For $1 USD I will think about you for one minute. I will email you the time I start thinking, and the time I stop.” It sounds absurd, of course. Why would anyone pay Horvitz for something so inherently and self-consciously intangible? And yet, I couldn’t help but feel a strange emotional resonance for that unassuming PayPal button, and the artist’s promise to think about me—not to think lovingly or positively about me—but specifically about me, for one minute."

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Publication - Ruth Pastine: The Inevitability of Truth

May 4, 2016

Edward Cella Art & Architecture is pleased to announce the publication of Ruth Pastine: The Inevitability of Truth. The catalogue features 43 pages with stunning full color images of the works and installation images from the exhibition. An essay by Sarah P. Hanson offers historical context for the work, and insight into Pastines's meticulous painting process.


Publication- Adam Berg: Natured

May 4, 2016

Edward Cella Art & Architecture is pleased to announce the publication of Adam Berg: Natured. 43 pages with full color images and an essay by Emma Kemp, the catalogue presents some of Berg's most ambitious steel and bronze sculptures to date. 

Signed copies are also avialble. For purchase, please contact the gallery. 

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Feature: The New York Times Style Magazine

May 4, 2016 - Emily Spivack

"In this series for T, the writer and author of “Worn Stories,” Emily Spivack, interviews creative types about their most prized possessions. For the artist David Horvitz’s much anticipated commissioned work at this year’s Frieze New York, a professional pickpocket will work in reverse, secretly depositing mini sculptures into fairgoers’ pockets and bags. Here, Horvitz reflects on the art of giving things away, as art — and perhaps his oldest personal object: his orthodontics."

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Feature: The Wall Street Journal

May 4, 2016 - Andy Battaglia


Frieze Projects at Frieze New York

May 4-7, 2016

“Visitors to the Frieze New York art fair might want to watch out for close encounters of the pickpocket kind.

Or not—since failing to elude the perpetrator in the act might lead to scoring a free artwork.

The work will be a small metal sculpture by the artist David Horvitz. And the delivery system, during Frieze’s run this Thursday through Sunday on Randall’s Island, will be a pickpocket hired to covertly circumnavigate the fair, dropping art into unguarded pockets and bags.”

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Art & Antiques

May 1, 2016 - John Dorfman

"With creations like these, today’s emerging designers are playing havoc with the modernist mantra “form follows function”— unless the function is to provide delight as well as utility, to stimulate the imagination as well to support the body. The design scene is being pervaded by a spirit of exuberance and playfulness, and something more—a sense that the traditional separation between design object and work of fine art is arbitrary and obsolete."

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Exhibition: Woven at the Descanso Gardens' Sturt Haaga Gallery

April 25, 2016

Woven at the Descanso Gardens' Sturt Haaga Gallery
May 17 - August 28, 2016 

Like weaving itself, the premise of this exhibition is both simple and satisfyingly complex. When the purpose of weaving transcends utility and enters art, we see in full the many meanings and association to be found in the act of weaving, and in things woven. Artists included are Marsia Alexander-Clarke, Melanie Ciccone, Clifford Eberly, Susan Feldman, Agustin Garza, Jenny Hart, Nicholette Kominos, Dinh Q. Le, Kristin Leachman, Jairlyn Mason, Thinh Nguyen, Echiko Ohira, James Richards, Meriel Stern, Andrew K. Thompson, Joan Weinzettle, Pontus Willfors.

Video: Adam Berg on his exhibition "In The Blink of an Eye"

April 23, 2016

Adam Berg gives a tour of his exhibition In the Blink of an Eye, on view at Edward Cella from April 23 - June 4, 2016. 

Feature: Interior Design Magazine

April 7, 2016 - Edie Cohen

On Laurie Frick's installation at Neustar Corporation in San Francisco. 

"'Art corresponding to what they do.' That was the solution proposed by Studios Architecture associate Kelly Mocock when she was designing the San Francisco office of a data-management concern, Neustar. So Mocock started searching the Internet, which brought her to an installation by Laurie Frick."

Award: John Simon Guggenheim Fellowship

April 6, 2016

The John Simon Guggenheim Memorial Foundation has awarded George Legrady with a 2016 Guggenheim Fellowship in support of his art. 

"Throughout his artistic career, Legrady has pursued a highly visible experimental and research-oriented artistic practice that integrates digital computer technologies with photography, conceptual art, and art theory. The proposed artwork to be realized with support of the Guggenheim Fellowship is an installation titled, “Aesthetic Metavision,” that builds on a recently realized series of projects, “Swarm Vision”, “Exquisite Vision”, “AutoVision,” which have evolved out of bridging arts and engineering questions concerned with training an autonomous multi-camera system to acquire aesthetics-defined behavior and agency."

To read the full profile, click here.

Video: Mara De Luca and Kistine McKenna in Conversation

March 26, 2016

Watch higlights from Mara De Luca's conversation with Kristine McKenna on Saturday March 26, 2016. 

Review: AEQAI

March 2, 2016 - Anise Stevens

Farewell, Eden, at the Descanso Garden's Sturt Haaga Gallery
February 22 - April 3, 2016

The Clash of Nature and the Human Imprint in "Farewell, Eden"
"During the 19th century, landscape painting was a popular form of expression for artists to celebrate mankind’s dominion over nature. Pastoral scenes of manicured lawns, tamed gardens and ripe harvests depicted a peaceful, almost perfect world where man and nature thrived in harmonious union.

Currently on view at Descanso Garden’s Sturt Haaga Gallery, “Farewell, Eden” presents us with a much different perspective. Now that our ecosystem has been severely compromised after years upon years of so-called human progress, our old, romantic notions about nature no longer apply as an accurate representation of our planet’s health. Comprising 62 pieces by 13 Los Angeles based artists, “Farewell, Eden” poignantly articulates this reality across three gallery spaces, each of which afford viewers visual contact with the surrounding gardens." 

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Review: ArtForum

March 1, 2016 - Suzanne Hudson

Atmospheric Abstraction, Quint Gallery, San Diego, Ca
December 12 - January 30, 2016 

"For De Luca, color (and especially colored light) evokes place, specifically Los Angeles. Her paintings often bring to mind dusk, their palettes keyed to such familiar referents as gathering clouds and incandescent sunsets. Planetary orbs recur within the image fields, and brass, nickel, and copper frames appended to border sections of the panels likewise appear throughout, serving as compositional elements that reflect ambient light onto geometric representational forms where they meet the painted gradients."

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Review: Artillery Magazine

February 24, 2016 - Anne Martens

George Legrady: Day & Night at Edward Cella Art & Architecture
December 12 - January 23, 2016

"In all of these photographs time is unclear. Is it dusk, midnight, midday, or day and night simultaneously? If optical effects seem like figments of the imaginiation, then what persists is a kind of twilight."

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Review: Artsy

February 23, 2016 - Andrew Wagner

David Hicks & Chris Trueman: New Works
January 30 - March 5, 2016

"Chris Trueman and David Hicks, the two artists currently showcased in the “New Works” exhibition at Edward Cella Art and Architecture in Los Angeles, might seem to be an unlikely pair. They work in drastically different media: Trueman in paint, Hicks in sculpture. Both, however, are carefully attuned to the optical qualities of color, and one finds in both their practices a passion for rich hues and a search for the perfect palette."

Exhibition: Go Big or Go Home at the Brand Library Art Center

February 20, 2016

Go Big or Go Home at the Brand Libaray Art Center
February 20 - March 25, 2016

A group exhibition of objects that question the limits of possibility. Thirteen Los Angeles artists present large scale sculpture and site specific installation.  

Exhibition: Green Revolution at the Lancaster Museum of Art and History

February 13, 2016

Lynn Aldrich: Green Revolution at the Museum of Art and History (MOAH), Lancaster, CA 
February 13 - March 17, 2016
Opening Reception: February 20, 4-6pm 

An exhibition that utilizes art and environmental education as a catalyst for leading greener, more sustainable lives. Sponsored by Lancaster Choice Energy and sPower, the diverse artwork on display will incorporate recycled materials, as well as addressing topics which include: urban farming and gardening; sustainable design; water harvesting; and renewable energy, such as wind and solar power. 

Exhibition: Extra-Ordinary Things at Biola University's Green Art Gallery

February 9, 2016

Extra-Ordinary Things: Lynn Aldrich, McLean Fahnestock, Kiel Johnson, Olga Lah, and Steve Roden, Biola University's The Green Art Gallery, La Mirada, CA
February 1 - March 8, 2016
Opening Reception: Tuesday, February 9, 2016. 6:30-8:30pm  

Feature: New American Paintings

January 26, 2016

Artist Chris Trueman Featured in Issue 121 of New American Paintings. 

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Mention: Dwell

January 26, 2016 - Paige Alexus

FOG Design + Art Fair, San Francisco CA
January 14 - 16, 2016 

"Also referencing the unique surface of a natural material, was Alex Rasmussen’s Lunar Console Table, presented by Edward Cella Art & Architecture. This mysterious console made entirely of anodized aluminum, is one of Rasmussen’s limited edition functional works where he has experimented with manufacturing processes to create innovative aluminum textures. Inspired by the experimental blue works of French post-war artist Yves Klein, Rasmussen manipulated a satellite image of the moon to create a loose interpretation of its surface. In order to keep it from feeling too literal, he used a high-tech digital program that took a compressed version of the image and converted it into a texture that was then applied to the surface."

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Exhbition: V+VS (Sonifying Visuals + Visualizing Sound)

January 23, 2016

Fellows of Contemporary Art
Curators Laboratory Exhibition Series:
V+VS (Sonifying Visuals + Visualizing Sound) 
January 23 - March 18, 2016

Opening reception: Saturday, January 23, 6-9pm

Exhibiting alongside several of his past students, V+VS will feature works by Gerorge Legrady, Reza Ali, Yuan-Yi Fan, Ryan McGee, Juan Manuel Escalante, Erick Oh, F. Myles Sciotto and Camella DaEun Kim, curated by Yoon C. Han. Read More >>

Exhibition: Lawrence Halprin at the California Historical Soceity

January 21, 2016

Experiments in Environment: The Halprin Workshops 1966-1971
January 21 - July 3, 2016

Opening reception: Thursday, January 21, 5-8pm

How do you perceive the environment?

In the summer of 1966, renowned American landscape architect Lawrence Halprin (1916–2009) and his wife, dance pioneer Anna Halprin (born 1920), began a series of experimental, cross-disciplinary workshops in northern California that offered a new approach to environmental awareness. Drawn from architecture, ecology, music, cinematography, graphics, choreography, and lighting, Experiments in Environment brought together artists, dancers, architects, and environmental designers in avant-garde environmental arts experiences.

For information about visiting the exhibition, click here


Preview: Art Ltd Magazine

January 20, 2016 - Shana Nys Dambrot

David Hicks and Chris Trueman: New Works at Edward Cella Art & Architecture
January 30 - May 5, 2016

"The two-person show format is at its best when an inspiredpairing across time, genre, medium, or era illuminates its components through the alchemy of unlikely allegiance. Such is the curatorial directive behind the arrangement of painter Chris Trueman and sculptor David Hicks, whose juxtaposition highlights, as the press materials gamely assert, the degree to which 'Hicks sculpts with painterliness; and Trueman paints sculpturally.'"

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Review: Artsy

January 19, 2016 - Jessica Simmons

George Legrady: Day & Night at Edward Cella Art & Architecture
December 12 - January 23, 2016

"Lenticular printing, a process that involves fusing multiple photographs into a single frame, creates a shimmering image that shifts based on the viewer’s position in space. Typically used for advertisements, the effect teeters precariously on the edge of kitsch, but Legrady approaches the process cinematically, pivoting it towards interactivity, nostalgia, and displacement." 

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Exhibition: Farewell, Eden at the Descanso Gardens' Sturt Haaga Gallery

January 19, 2016

Farewell, Eden, at the Descanso Gardes' Sturt Haaga Gallery
January 19 - April 3, 2016
Opening Reception: February 21, 2-4pm

Urbanature at Art Center's Williamson Gallery and Farewell, Eden at Descanso Gardens' Sturt Haaga Gallery are pleased to present two ehxibitions of art about changing definitions of nature and the city.  

Exhibition: The Language of Perpetual Conditions

January 16, 2016

George Legrady: The Language of Perpetual Conditions at Cal Sate LA's Fine Arts Gallery
January 16 - February 4, 2016 

Opening reception: Saturday, January 16, 4-7pm

Organized by Ching Ching Chang and Brandon Hudson, the exhibition features Rebecca Bird, Fatemeh Burnes, Nancy Baker Cahill, Jamison Carter, Ching Ching Cheng, Sarah Coleman, Jill Daves, Gioj De Marco, Margaret Griffith, Jennifer Gunlock, Daniel Healey, Brandon Hudson, George Legrady, Christine Nguyen, Vincent Tomczyk, Stephanie Washburn, Valerie Wilcox, and Joan Wulf. 

Feature: Wallpaper Magazine

January 15, 2016 - Jordan Kushins

"Ask any of the exhibitors at the FOG Design+Art fair about what makes this particular aesthetic celebration special, and the response is likely to be quick and nearly unanimous: it’s so uniquely San Francisco.

For the third year in a row, this four-day event – a collaboration with the San Francisco Musuem of Modern Art (SFMOMA) – sees galleries from across the US (centered, perhaps predictably, in San Fran and New York, with representation from LA, DC, Philadelphia, and Seattle), as well as London, Paris, and Mexico City, bring everything from small, take-homeable trinkets, to hands-on craft and highly polished installations, to the city’s Fort Mason Festival Pavilion. This mix of mediums across a range of creative eras makes for an eclectic selection that’s delightful as eye candy, but also demands a deeper look."

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Mention: Architectural Digest

January 15, 2016

FOG Design + Art, January 14 - 17, 2016

"Edward Cella Art + Architecture from Los Angeles is showing this 2015 floral-inspired sculpture, titled Panel Composition, by David Hicks. The work is made of glazed ceramic and stainless steel."

Review: Los Angeles Times

January 12, 2016 - Leah Ollman

George Legrady: Day & Night at Edward Cella Art & Architecture
December 12 - January 23, 2016 

"Time conventionally is visualized as a line moving forward, but viscerally we experience it as something messier and more richly complicated -- as a matter of coexisting planes, for instance, past and present, layered and interlaced. George Legrady's affecting new work at Edward Cella gallery hinges on that notion of simultaneity.

Legrady, born in Hungary and living in L.A. and Santa Barbara, makes lenticular prints. Each combines an old family photograph with one or two new pictures he has made. As we shift position in front of a lenticular print, different images within it prevail."

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Review: Art Scene Magazine

January 1, 2016 - Jody Zellen

George Legrady: Day & Night at Edward Cella Art & Architecture
December 12 - January 23, 2016 

"George Legrady is one of a very few artists using the lenticular process in a manner that goes beyond the kitschy and obvious dualities that the process offers. ..."

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Review: Noozhawk

December 10, 2015 - Julie Cohen

George Legardy: Day & Night at Edward Cella Art & Architecture
December 12 - January 23, 2016 

"Legrady explained that his interest in working with these images is driven by his research in translating human perceptions of images into rules that a computer can follow. This new work examines how to quantize complex affective messages — such as those generated by the age of an image — that every human instantly recognizes."

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Exhibition: Made in California: Selections from the Frederick R. Weisman Art Foundation

December 3, 2015

Made in California: Selections from the Frederick R. Weisman Art Foundation
Mana Wynwood, Miami, FL, December 3-6, 2015

A definitive view of contemporary art produced in the Golden State, from the 1950s to the present. Including artwork by Ruth Pastine. 

Tim Hailand: A Sitting

December 2, 2015

Edward Cella presents personal portrait sittings by Tim Hailand in the lush gardens of the Sagmore Hotel in the heart of South Beach in Miami, Florida on December 2, 3, 4, and 5, 2015. 

In 2012, Hailand was inspired by the toile de Jouy wallpaper that covered the walls of his bedroom during his artist residency at Giverny, the legendary home and garden of Claude Monet in Normandy. Following this inspiration, he began printing photographic portraits directly on the toile de Jouy fabric; combining the pastorla monochrome of the cotton fabric with the contemporary immediacy of the performers documented in his photographic work. 

For further information about portrait sittings, please contact Edward Cella at 

Interview: ARTS Journal

December 1, 2015 - John Shorb

"JS:Yes, there’s the notion that everything the artist touches might have value, or that the artist acts out of a higher plane.

LA:Definitely, there can be this aura around the artist. It’s connected to ideas about the Bohemian, someone who breaks social taboos, who lives outside the norm. And Conceptualism was a response to that—those artists wanted to bring art back down to earth after pure abstraction and introspective expressionism. That’s one reason why I like Robert Smithson a lot. I love “Monuments of Passaic” where Smithson goes out and declares the various rusty industrial ruins along the river as today’s grand monuments."

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Review: Cultured Magazine

November 30, 2015 - Janelle Zara

Mara De Luca: Vice City, Holly Hunt Miami, Miami, FL
December 3 - January 31, 2015 

"In partnership with Edward Cella Art & Architecture, L.A.-based artist Mara De Luca takes over Holly Hunt’s Miami showroom from December 1 through January 31 with Vice City, an installation of painted abstractions and furniture inspired by the city’s palette. Taking cues from Joan Didion’s 1987 “Miami,” as well as Michael Mann’s Miami Vice, De Luca depicts the multifaceted city in all of its tropical glory."

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Review: Arts Meme

November 30, 2015 - Debra Levine

George Legrady: Day & Night at Edward Cella Art & Architecture
December 12 - January 23, 2016 

Eerie Time-and-Space Travel by Photographer George Legrady.

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Discussion: Lynn Aldrich at Eastside International

November 17, 2015

November 17, 2015, 7pm at Eastside International, Los Angeles, CA. 

Lynn Aldrich will introduce the next discussion on "What's Love Got to do with it: the Artist's Secret Longing to Bless the World". Lynn writes: "In the last decade of his life, Andy Warhol painted a body of large works based on a child's coloring book version of Di Vinci's "Last Supper". I saw them exhibited in New York after his death and was deeply moved - I experienced them as a kind of generous blessing or extravagant gift from the artist to his viewers. It seemed an artist known for flat pop images, shallow manipulations of celebrity, and irony that flirted with cynicism, was communicating something more mysterious and profound." Some of the questions Lynn would like to discuss are: Is spirituality a problem in contemporary art? Can irony rescue sentimentality? What forms does mystery take in a secular age? Does beauty need to be more interesting? Does art itself bring love and grace into the world?

Some writers and artists Lynn suggests: Flannery O'Connor, Chris Burden, Robert Smithson, Allen Ruppersberg, Agnes Pelton, Tim Hawkinson, T.S. Eliot, Paul Virilio, Corita Kent, Blaise Pascal, C.S. Lewis, Andy Warhol, Wolfgang Laib, Julia Kristeva, Vincent Van Gogh, Robert Irwin, Diane Arbus, Simone Weil, Felix Gonzales Torres, Caspar David Friedrich, Jane Dillenberger, Albert Pinkham Ryder, Thomas Cahill, Anne Truitt...

Lynn Aldrich is an artist who loves text and ideas, but makes sculptures, wall constructions, and installations. She is inspired by landscape, qualities of color in nature, and aspects of the natural world and sciences. With strong interests in literature and theology, she has written and lectured concerning art practice. In 2013, Art Center College of Art and Design, Pasadena, mounted a 20 year survey of her work. She is a recent recipient of a Guggenheim Fellowship. Currently, her solo exhibition More Light Than Heat is on view at Edward Cella Art + Architecture in Culver City. 

Please join us for this interesting evening of discussion with Lynn. The format for the program is open-form. The initiator opens the discussion then the floor opens for discussion. Seating is limited! Light refreshments will be served and are welcome.

Review: Los Angeles Times

November 6, 2015 - Leah Ollman

Lynn Aldrich: More Light Than Heat
October 24 - December 5, 2015 

"The fabrics gradate from black, at the bottom, through browns, purples, violets, pinks and golds up to pale lemon and white at the top. Through her deft use of materials, Aldrich has, indeed, staged an ascension, elevating the lowbrow genre of velvet painting into a vehicle of greater profundity, while symbolically suggesting the Ascension, Christ's rise from earthly body to heavenly spirit."

Artist Profile: Art Ltd

November 6, 2015 - George Melrod

Lynn Adlrich: More Light Than Heat
October 24 - December 5, 2015

"Parading their humble pedigree, the artworks of Los Angeles sculptor Lynn Aldrich can seem almost casual at first. Don't be folled. Precisely compsoed out of largely ordinary materials, each of her sculptures is a self-contained statement of discovery and transcendence." 

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Review: Artsy Editorial

November 4, 2015 - Rachel Will

Lynn Aldrich: More Light Than Heat
October 24 - Decmeber 5, 2015

"Think back to the beginning of the original “Light and Space Movement”—it’s not the West Coast Minimal art movement the 1960s and ’70s, Lynn Aldrich would argue, but rather the stained glass windows found in cathedrals across Western Europe. This original play on light is something that inspired painters during the late Middle Ages, and also serves as a driving inspiration behind works in Aldrich’s latest show, “More Light Than Heat,” at Edward Cella Art + Architecture." 

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Review: Art Scene Magazine

October 28, 2015 - Liz Goldner

Lynn Aldrich: More Light Than Heat 
October 24 - December 5, 2015

"In 'More LightThan Heat,' Lynn Aldrich transforms Duchampian ready made materials bought in hardware, craft and office supply stores into constructions that have transcendent and spiritual qualities. The pieces in this show, all completed this year, represent an evolutionfor the artist, whose sculptural works of the past two decades havetended to possess more whimsical and homespun aspects."

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Video Interview: Ampersand LA

October 9, 2015 - Donna Granata

Ruth Pastine: The Inevitability of Truth at Edward Cella Art & Architecture
September 12 - October 17, 2015

"Ruth Pastine’s newest body of work is bold and courageous. The large scale, luminous paintings, engage the viewer in a relationship of perception.  The spatial interplay enhances the meticulously painted, color-saturated canvases; enticing the viewer in a dynamic visual experience."

Feature: Queensland Center for Photography's Lucida Journal

October 6, 2015 - Edward Cella

Tim Hailand, Ground and Image

"...Hailand exploits the unique registration of his portraits onto the particular circumstances that the fabric's pattern, colour and textures prescribe. Composing them as much topographically (thematically) as compositionally, elements of chance and craft collied, reinforcing the open-ended aesthetic pursuit of the aritst." 

Interview: The Washinton Post

October 2, 2015 - Anne Midgette

Jun Kaneko on his production of the Magic Flute at the Kennedy Center Opera House in Washinton D.C.

"I try to keep myself as empty as possible and just listen to the music. Usually it takes me two to three months to get some kind of visual image coming out, just listening. I listen to the opera two to three times a day. Then i start drawing form memory, and keep doing it for a month, and then look at it."

Review: Los Angeles Times

September 29, 2015 - David Pagel

Ruth Pastine: The Inevitability of Truth at Edward Cella Art & Architecture
September 12 - October 17, 2015

"Pastine’s six oils on canvas in the main gallery of Edward Cella Art & Architecture make the world safe for truth, providing so many slippery pleasures, mesmerizing delights and stimulating ambiguities that you can’t help but wonder why truth got a bad name in the first place." 

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Feature: Artsy

September 29, 2015 - Rachel Will

Ruth Pastine: The Inevitability of Truth at Edward Cella Art & Architecture
September 12 - October 17, 2015

"Not easily captured through photographs, Pastine’s paintings have a transcendental quality when viewed in person. Her carefully chosen palette becomes energized, each hue reverberating in tandem to create an evolving and unexpected result. Indeed, Pastine insists that her process 'transforms the materiality of the hand-painted surface into an optically immaterial experience.' It is in this way that her works transcend their canvases and invite discussion of the philosophical and the sublime." 

Feature: Introspective Magazine

September 21, 2015 - Sarah P. Hanson

Ruth Pastine: The Inevitability of Truth at Edward Cella Art + Architecture
September 12 - October 17, 2015 

"To gaze at one of Pastine’s works is to enter a force field created on the surface of the canvas. If the colors are hot, the space between your eye and the painting might seem to shimmer, as if in the desert. If the colors are cool, you might find yourself leaning forward slightly, a subconscious attempt to peer into their fathoms."

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Exhibition: Kendell Carter: WE at Monique Meloche Gallery

September 18, 2015

Kendell Carter: WE
September 12 - December 31, 2016

WE continues Carter’s exploration of race, gender, history, and consumer culture. The artist cites his choice of hip-hop as a model for his work, identifying it as “one of the few multiracial, multigenerational contingencies that we have.” Carter seeks to push discourse on his work past that of a black artist making art about politics, and towards one that acknowledges the integrated visual culture in which we are all participating.

Review: Hyperallergic

September 17, 2015 - Benjamin Sutton

Pedro Guerrero: Master Works at Edward Cella Art + Architecture 
September 12 - October 17, 2015

A New Documentary Champions the Photographer Who Captured Wright, Calder, and Nevelson.

"This devotion to the art of others and desire to make images that not only captured the likeness but also the spirit of their work are what have made Guerrero's art so enduring. In addition to his extensive interview, his images are ultimately A Photographer's Journey's most powerful and eloquent documents."  

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Interview: Gas & Gander

September 15, 2015

Tim Hailand: Giverny at Eric Buterbaugh Florals
September 15 - November 3, 2015 

"The toile is itself a figurative abstraction, an idealized and fictionalized depiction of pastoral life. I abstract my figurative portraits, which are also idealized depictions of people, with the toile. I think of them sort of like poems or songs."

Pedro Guerrero Documentary to Premiere September 18

July 23, 2015

American Masters — Pedro E. Guerrero: A Photographer’s Journey 

Premieres nationwide Friday, September 18, 9:00 – 10:00 p.m. on PBS (check local listings) during National Hispanic Heritage Month

Discover the life and work of Mexican-American photographer Pedro E. Guerrero, who collaborated with Frank Lloyd Wright and sculptors Alexander Calder and Louise Nevelson. A co-presentation of VOCES and American Masters.


Hyper Allergic Review

July 22, 2015 - Allison Meier

Personal Data Surveillance as Modern Portraiture: The constant data collection on our lives, from iPhone usage to subway card swipes, transforms through Laurie Frick‘s art into portraiture.

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Interview: Southern California Public Radio

July 22, 2015 - John Rabe

Jeffrey Vallance: The Medium is the Message, CB1 Gallery
July 25 - September 5, 2015

Art prankster Jeffrey Vallance’s new show “The Medium is the Message” opens at downtown L.A.'s CB1 Gallery on July 25. A mix of large prints and small objects, Vallance says the inspiration for the show came from a séance he held in London a few years ago.

KPCC's John Rabe interviewed Vallance at the gallery to talk about “The Medium is the Message” and why it’s good not to take contemporary art too seriously.

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Grant: Jeffery Vallance Awarded CCF Fellowship

July 16, 2015

The California Community Foundation (CCF) has named 22 emerging and mid-career Los Angeles County artists as recipients of the CCF Fellowship for Visual Artists (FVA), with a total of $385,000 in unrestricted grants.

T Magazine Feature

July 14, 2015 - Alice Gregory

Utopia Rules at Sea Ranch, a Community Born of '60s Idealism: With its gentle footprint on the California coast, simple wood houses and almost dictatorial aesthetic strictures, it feels as modern today as it did 50 years ago. 

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Dazed Review

July 9, 2015 - Holly Jemima Doherty

What happens inside the world's best homoerotic art space? 

Photographer Stuart Sandford spent nine months at legendary live-in erotica foundation Tom of Finland - and pactured it on a Polaroid camera. 

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Review: The Art Minion

July 9, 2015

Pontus Willfors: Homeland, Edward Cella Art & Architecture
June 6 - July 25, 2015 

"If you’re lucky, once in a blue moon, you’ll stumble across the work of an artist that is so stupendous in its virtuosity that your mouth may gape. Yes, the look is a dumb one, but no one will be looking at you – they, too, are sure to be transfixed by the wonder before them."

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LA Times Review

July 6, 2015 - Sharon Mizota

"Patrick Angus' drawings are wonderfully awkward. ... Rendered in a charmlingly blunt style, they capture the lonliness of the city and furtive (or not so furtive) expressions of gay desire."

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LA Times Feature

July 1, 2015 - David Ng

LAX unveils public art by Ball-Nogues, Mark Bradford and Pae White.

"The Tom Bradley International Terminal at LAX debuted this week three new public art commissions designed to greet departing and arriving passengers and provide a measure of calm and reflection amid the chaos of air travel."

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Art Ltd Review

July 1, 2015 - Marlena Doktorczyk-Donohue

"When we’ve squeezed every metaphor/rationale from abstract painting, it returns like a virile shrub through concrete. Maybe it never leaves. Abstract painting is featured prominently in “Unbound,” the opening group show at Edward Cella Art+ Architecture, newly in Culver City. A sub-theme might also be dealer Cella revising his mission: fewer artists, who have proven their chops, who are yet on an evolving arc. Who can argue with articulating support and innovation?"

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Out Preview

June 15, 2015 - Ryan Lathan

Must See Exhibition: Patrick Angus and Stuart Sandford in L.A. 

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June 7, 2015 - Marco Tagliafierro

Modern Magazine Feature

June 1, 2015 - Marieke Treilhard

New gallery location featured in Modern Magazine's summer edition. 

Artsy Review

May 15, 2015 - Maxwell Williams

A group show at Edward Cella's new location allows painting to be itself.

The Atlantic Feature

May 14, 2015 - Jacoba Urist

From Paint to Pixels: A Growing number of artists are using data from self-tracking apps in their pieces, showing that creative work is as much a product of its technology as of its time. 

Exhibition: George Legrady Installation at the International Book Fair, FIBO

April 21, 2015

George Legrady is part of a team of artists awarded a commission to create a new interactive installation for the 2015 Bogotá International Book Fair, premiering on April 22nd in Bogotá, Columbia. The project, Imagining Macondo, honors the work of Gabriel Garcia Marquez, and is developed in collaboration with Angus Forbes and Andres Burbano.


Review: Visual Art Source

March 27, 2015 - Roberta Carasso

Ruth Pastine: Present Tense at the Carnegie Art Museum, March 15 - May 24, 2015.

"The artist in effect pulls hidden ideas out of a void, engages in receiving and responding, takes risks in developing something fresh, sustains the excitement of discovery, and at the end of her rigorous process presents us with the newly-born color possibilities she has unearthed."

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Exhibition: Ruth Pastine "Present Tense" at the Carnegie Art Museum

March 15, 2015

Ruth Pastine: Present Tense at the Carnegie Art Museum, March 15 - May 24, 2015.

This exhibition shares the artist's latest advances in showing perceptual interactions of color and light. Ruth Pastine's work is noted for creating an optically sublime experience of ethereal light in an indefinable space.

Laurie Frick at SXSW

March 3, 2015

On Saturday, March 14, 2015, Laurie Frick and a panel of othe rexperts will discuss everything "From Digital Sharecropping to Data Emancipation" at SXSW. 

The Halprin Workshops, 1966–1971 at Columbia's Arthur Ross Architecture Gallery

February 23, 2015

February 23 - April 18, 2015

In the late 1960s and early 1970s American landscape architect Lawrence Halprin and avant-garde dance pioneer Anna Halprin organized a series of experimental, cross-disciplinary workshops in Northern California. The workshops brought together dancers, architects, environmental designers, and artists in a process designed to facilitate collaboration and group creativity through new approaches to environmental awareness. The Halprin Workshops, 1966–1971 presents original photographs, films, drawings, scores, and other documentation of three workshops: Experiments in Environment, 1966; Community, 1968; and Leadership Training, 1971.

Lift Interview

February 6, 2015

Lift Stuttgart talks with Andreas Pucher about the exhibition at Thomas Fuchs Gallery. 

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Review: HuffPost Arts & Culture

January 9, 2015 - Peter Frank

Ruth Pastine Mind’s Eye/Sense Certainty Series at Brian Gross Fine Art, September 6 - October 25, 2014.

"Ruth Pastine paints as purely optical a kind of painting as it is possible to paint. Her work comprises nothing but color and its presentation..."

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Interview: Cultured Magazine

January 1, 2015 - Tali Jaffe

Cultured's Executive Editor Tali Jaffe sits down with artist Kendell Carter. 

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Art Voices Feature

December 20, 2014 - Andrew K. Thompson

Donnie Molls: Beyond the Surface

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Signifier and Signified: Helen Rebekah Garber at Gallery Wendi Norris

December 18, 2014 - Matt Smith Chavez

Helen Rebekah Garber's paintings must be heavy. They’re covered head to toe in thickly impastoed oil paint revealing a layered painting process that must surely take months to complete. The paintings (on view in “Numbers” at Gallery Wendi Norris through January 9, 2015) seem heavy not only because of their size and impastoed heft but also because from a distance their nearly monochromatic surfaces can resemble talismanic rock engravings. They hang on the walls like sacred tablets. There’s a kind of spiritual allusion in Garber’s forms, at once seeming to reference mandalas, religious altarpieces, and Mayan hieroglyphs. The paintings speak to a kind of transcendentalism that we also find in the paintings of Chris Martin (like "For Paul Thek") or even Forrest Bess (like "Before Man"). But up close Garber’s paintings tell a different story. Matt Smith Chavez, San Fransisco Contributor 

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Art Forum Review

December 16, 2014 - David Huber

Experiments in Environment: The Halprin Workshops, 1966-1971

Must-See's at the Tenth Edition of Design Miami

December 3, 2014 - Ted Loos

Interior Design's Must-See's at the Tenth Edition of Design Miami

Review: Arts & Culture Texas

December 3, 2014

With Parallel Spaces Cris Worley Fine Arts opens the first solo exhibition of Patti Oleon’s mysterious paintings. Based in San Francisco, Oleon is represented on the west coast by various galleries and her work has been exhibited in several museums in California and beyond. This show brings her work to an entirely new audience in North Texas where it will certainly delight viewers. Described in the press release as a “conceptual realist,” her work begins with photography and morphs through computer editing into a final image, which she transfers to either oil on linen, panel, or both.

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Design Miami 2014 preview: the top 15 exhibits and sattelite events

December 1, 2014 - Rosa Bertoli

Wallpaper* Magazine's Design Miami 2014 preview: the top 15 exhibits and sattelite events

Adam Berg: "Pier Paolo" at Pio Monti in Rome

October 11, 2014 - Adam Berg

Adam Berg's solo show at Pio Monti in rome explores intersections of nature and humanity in our increasingly global culture. 

Upcoming Release of Frickbits

October 10, 2014 - Laurie Frick

Artist Laurie Frick has officially launched a preview of her app - Frickbits. Modeled after her watercolor pattern portraits, the Frickbits app takes data collected by your cellphones sensors and turns them into personalized works of art. The app will be available for download very soon, stay tuned! 

Review: THE Magazine

October 1, 2014 - Richard Tobin

Jun Kaneko, Gerald Peters Gallery
August 8 - September 14, 2014

"Viewers leave the show with a deeper appreciation, not only for Kaneko's works, but for all ceramic forms. 'Universal' is often a hallmark of enduring art, and here is no exception. But in the case of Kaneko's closed-form ceramis and glass works on view here in Santa Fe, while they are evidently at home anywhere, clearly they belong here."

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Review: San Francisco Examiner

September 20, 2014 - Greg Flood

Ruth Pastine Mind’s Eye/Sense Certainty Series at Brian Gross Fine Art, September 6 - October 25, 2014.

"Of equal importance in this work is the power they exert over us. These aren’t dumb paintings sitting on the wall waiting to be watched. They come and get us from across the length of the gallery. "

Review: Square Cylinder

September 10, 2014 - David M. Roth

Ruth Pastine Mind’s Eye/Sense Certainty Series at Brian Gross Fine Art, September 6 - October 25, 2014.

"The liminal effects she conjures are akin to those we see when looking at the ocean, where shifting atmospheric conditions confound our perception of color.  Pastine turns this aspect of human vision into something numinous and makes it her subject. ...To those who reject beauty out of hand and question the purity of intent that drives such efforts, Pastine offers a potent rebuke: an experience that is palpably real. "

Review: New American Paintings

September 1, 2014 - Seth Orion Schwaiger

Gallerist Cris Worley put all her bets on painter Patti Oleon, which turned out to be a pretty good idea. Worley's doubled down on that bet with an upcoming solo show scheduled for the artist opening November 22nd in Dallas. I won't say that Oleon's works are hyperrealistic, but they are very photo-like. They include the type of blurring and sliding exposure native to traditional film, a motif Oleon capatilizes on to invoke nostalgia. In the paintings at Texas Contemporary Oleon focused on symmetrical luxury interiors. Interestingly, it wasn't readily clear whether the symmetry was a product of post-production image manipulation, or the original state of the pristine environment. For my own tastes, I valued the works that broke out of the formula and demonstrated an approximate symmetry or an unusual angle over those that seemed kaleidoscopicly perfect.

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Feature: Zoom Magazine

July 28, 2014 - Cristina Franzoni

"Tim Hailand's creations are simply amazing, surpassing the precepts of traditional photography in and of itself. To be clearer, the art contained in them does not end with the mechanical click and the bounding of the image within an inexorably delimited rectangular space. For Tim, a visual terminus does not exist."

ArtScene Review

May 29, 2014 - Jody Zellen

Artillery Pick of the Week

May 8, 2014 - Eve Wood

"In this her newest exhibition at Edward Cella, aptly titled “Vespid Empire,” Maura Bendett has hit the ball not only out of the park but well into the stratosphere." - Eve Wood

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Review: Art Ltd Magazine

May 8, 2014 - James Scarborough

Chris Trueman: Beneath the Skin at Edward Cella Art & Architecture
March 8 - April 26, 2014

"From a distance, the paintings look as if they’ve been slashed, metaphorically, not literally, à la Lucio Fontana. The linear patterns (think Bridget Riley) they create on the surface are dynamic: horizontal or diagonal, they activate the surface tensions that dictate the rhythm of each piece. Sometimes the lines dominate the surface; what’s beneath is barely visible. Other times, the lines become subordinated to what’s beneath. What’s revealed in these hide-and-seek compositions is sensuous." 

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Feature: Artillery Magazine

May 4, 2014 - Tulsa Kinney

Veils, curated by Ariana Ppademetropoulos and Jhordan Dahl, the Underground Museum
April 5 - May 22, 2014

Who knew? Who knew that Andy Warhol would become an angel, full of love and the love of God and the beauty that surrounds him in the heavens above? Last night, at the Underground Museum in Los Angeles, artist Jeffrey Vallance conducted a séance with psychic medium JosephRoss.

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Adam Silver to Re-open Atwater Pottery

April 25, 2014 - Erin Manger

Award: Lynn Aldrich Receives Guggenheim Fellowship

April 22, 2014

Lynn Aldrich is a recipeient of the 2014 John Simon Guggenheim Memorial Foundation Fellowship. 

United States Senator Simon Guggenheim and his wife established the John Simon Guggenheim Memorial Foundation in 1925 as a memorial to a son who died April 26, 1922. The Foundation offers Fellowships to further the development of scholars and artists by assisting them to engage in research in any field of knowledge and creation in any of the arts, under the freest possible conditions and irrespective of race, color, or creed. The Foundation receives between 3,500 and 4,000 applications each year. Although no one who applies is guaranteed success in the competition, there is no prescreening: all applications are reviewed. Approximately 200 Fellowships are awarded each year.

Interview: Huffington Post

March 24, 2014 - Priscilla Frank

Chris Trueman: Beneath the Skin at Edward Cella Art & Architecture
March 8 - April 26, 2014

"The enchanting works, made from acrylic and acrylic spray paint, combine various threads of abstraction for a unique experience that combines the historical debates of painting with a fast-paced sharpness perfect for the short attention span of the internet generation. Combining soft and hard strokes with warm and cool colors, Trueman creates multilayered works thick with contradiction and complexity. We reached out to the California painter to learn more about his upcoming exhibition, 'Beneath the Skin.'"

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Artsy Review

March 11, 2014 - Artsy Editorial

Review: Artsy

March 11, 2014 - Artsy Editorial

Chris Trueman: Beneath the Skin at Edward Cella Art & Architecture
March 8 - April 26, 2014

"Chris Trueman is a maximalist. In his exuberant, large-scale paintings, he encompasses the entire history of abstraction, merging Color Field Painting, Abstract Expressionism, and Hard-Edged Geometry in his allover compositions. Intermingling passages of pixilation and color gradation based on computer graphics, his acrylic-on-canvas works seem to be formed of layered scrims. He often begins Abstract Expressionist-style, with bold, lush brushstrokes and generous smears of pigment. Onto this ground he overlays stripes and undulating lines recalling Op Artillusions and screen savers. These run up against sections of saturated color and the drips that became so synonymous with Jackson Pollock."

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Artist Profile: Arts and Antiques

March 1, 2014 - John Dorfman

The Space Between: Jun Kaneko's works in ceramics and other medi, are often monumental but always subtle.

"'My interest is in the creative spark. That's the idea, the energy, and each idea has a perfect match of material to work with. It can't always be clay or paint. I'm open to the opportunity of finding the medium to fit the idea.' Still he inisists, 'craftsmanship is the hardest thing. You have to have the ability to make that material change into what you were thinking. That's the craftsmanship, and noby has fantastic technical ability from the beginning.'"

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Feature: Installation Magazine

February 27, 2014 - Tim Hailand

Behind the Veil with Tim Hailand

"In my work, I allow the material to lead me — it lets me know what it wants (or does not want) to do.  The subjects that I choose to photograph — whether artists, athletes, actors, musicians or amateur models — are all heroic to me in some sense.  Photographing them is part of the process of creating my own personal mythology.  Hence, I am more interested in what I perceive to be iconic archetypes than in individual personalities."

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Catalogue Essay

February 11, 2014 - Sefano Scoglio

Adam Berg, Bruno's Phantasm and the Western Soul

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Art Scene Magazine Review

February 6, 2014 - Jeanne Willette

Art Scene Magazine Review of Adam Berg Consenusal at Edward Cella Art + Architecture.

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Mary Heebner at Wesleyan University

February 5, 2014

Silent Faces/Ankor: Mary Heebner

February 5 - May 23, 2014. at Wesleyan University in Middletown, Connecticut. 

Art Ltd Review

January 30, 2014 - Liz Goldner

Art Ltd Review of Adam Sivlerman: Clay and Space at Laguna Art Museum

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ARTIndia Review

January 18, 2014 - Zeenat Nagree

Exhibition: Ruth Pastine "Attraction" at the Museum of Art & History

January 18, 2014

Ruth Pastine Attraction: 1993-2013 at Lancaster Museum of Art and History (MOAH), January 18 - March 16, 2014

Curated by Andi Campognone, Pastine's survey show at MOAH featured pivotal paintings and pastel works on paper from the past two decades and was accompanied by an exhibition catalog with essays by Donald Kuspit and Peter Frank and an appreciation by DeWain Valentine.  The 84 page color monograph may be previewed and ordered online by clicking here

Los Angeles Magazine Review of Joshua Aster: Innerverse

January 16, 2014 - Lyle Zimskind

Framed: Raw Materials Torn Up and Tied Back Together "In a Bow"

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Pick of the Week: Joshua Aster: Innerverse

January 13, 2014 - Eve Wood

Artillery Magazine Pick of the Week: Joshua Aster: Innerverse

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Artsy Review

January 10, 2014 - Artsy Editorial

Abstract Painting Gets the Spotlight at Edward Cella

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Review: Artillery Magazine

January 7, 2014 - John David O'Brien

Lynn Aldrich: Un/Common Objects at Art Center College of Design, October 11 - January 19, 2015. 

"The constituent parts— scouring pads, synthetic sponges, and other kitchen cleaning items—which are products of the petroleum economy, jeopardize the oceanic life forms they evoke. Aldrich’s mimesis of biological forms using synthetic materials almost makes us forget as it beguiles. In this sense, Aldrich’s politics are never abrupt or confrontational; rather, they are subversive and even a bit furtive."

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Laurie Frick at the Marfa Contemporary

January 1, 2014 - ECAA

Laurie Frick: Walking, Eating, Sleeping
September 10, 2013 through January 3, 2014
Artist Talk: October 13, 2013 | 11:30am – 12:30pm

The artwork of Laurie Frick explores the intersection of technology and creativity as the artist herself adopts a daily regimen of self-tracking that measures her activities and body. In doing so, she shapes a vocabulary of pattern used to construct her intricately hand-built works and installations. Her quantifiable patterns, like her heart rate, the duration of her sleep or body weight are some of the metrics that inspire her colourful and complex works.

TAKE Interview

January 1, 2014 - Deepika Sorabjee

Exhibition: Lynn Aldrich: Un/Common Objects at the Williamson Gallery, Art Center College of Design

January 1, 2014 - ECAA

Lynn Aldrich: Un/Common Objects, October 11, 2013 through January 19 2014.

Transforming the known into something curious and unexpected, Los Angeles-based artist Lynn Aldrich offers a critical consumerist spin on the assemblage tradition, on view at Art Center College of Design’s Alyce de Roulet Williamson Gallery.

Feature: Ceramics Monthly

January 1, 2014 - David Hicks

"I tend to work in short encounters with my wall compositions. These encounters are broken up into multiple focuses. For example I initially begin by producing five or so objects that will set the tone for a piece. Once that has been established, I work to make pieces that relate to or respond to those initial model objects. This process is usually a fast-paced process that is heavy handed and quick so I can keep my direction.I have a tendency to drift with objects in an evolutionary way. Works keep evolving and changing, and I keep it quick so I don’t stray too far. Honestly, this pace also keeps my interest fresh and focused."

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Los Angeles Times Review

December 28, 2013 - Christopher Knight

Art review: Adam Silverman's 'Clay and Space' is vessel for inquiry. 

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Cathy Daley

December 21, 2013 - ECCA

With an introduction by Marieke Trielhard, this catalog presents a new sequence of the oil pastel drawings by Toronto based artist Cathy Daley. Graphic and yet lyrical, the artist’s imagery draws from a repertoire of popular culture, fashion, fantasy, memory, and dream, and explores the kinesics of the dress – a looming presence in our shared cultural imaginary. Published 2013 in soft cover with fifty-nine pages.  Available for $35.00.

Mary Heebner

December 20, 2013 - ECAA

Featuring an essay by noted art historian Bruce Robertson, Mary Heebner: The Venus Paintings showcases Heebner’s newest body of work in fifty-six full color pages. Each of Heebner’s new lush large-format collages are exquisitely depicted, including detail images that bring to life the  full textural depth of these enticing works. Her unique collage painting technique layered with antique feminine imagery is at once contemporary and richly historical. Published 2013 in soft cover with fifty- six pages. Available for $20.00

Publication: Lynn Aldrich: Un/Common Objects

December 19, 2013 - ECAA

To accompany Aldirch’s Art Center College of Design exhibition, we are pleased to announce the publication of Lynn Aldrich: Un/Common Objects. This catalogue features an introduction by Art Center’s Williamson Gallery Director Stephen Nowlin, and essays by G. James Daichendt, Christina Valentine, and Howard N Fox. Also included are full color images of the retrospective installation at Art Center College. Published 2012 in soft cover with one hundred and eleven pages. Available for $20.00

Publication: Ruth Pastine "Counterpoint"

December 18, 2013 - ECAA

With an introduction by Edward Cella, this catalogue presents, Counterpoint, a new series of pastel works on paper by Ruth Pastine. In marked departure for the artist in terms of media and technique, the new sequence of drawings conveys a renewed sense of immediacy and expanded polychromatic range.  Published 2012 in soft cover with fifty-nine pages.  Available for $35.00.

KCRW Art Talk Review

December 17, 2013 - Edward Goldman

KCRW's Edward Goldman on Adam Silverman: Clay and Space at Laguna Art Museum

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Review: Los Angeles Times

December 16, 2013 - Sharon Mizota

Lynn Aldrich: Un/Common Objects, October 11, 2013 through January 19 2014.

"The strength of Aldrich's work is this ability to find wonder and whimsy in the pre-set categories by which consumer culture defines and segments our lives."

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Interview: East of Borneo

December 3, 2013 - Damon Willick

"I should explain that I’ve always made two kinds of work. I was actually trained as an artist by my grandfather who was a Norwegian folk artist. So the first thing I learned was how to make folk art, and that has always influenced my work. Sometimes people think that I am using a fake folk art style, but it’s really not. That’s how I learned to paint. At the same time, I was into doing pranks, which were really about interacting with my environment and people that I’d see..."
-Jeffrey Vallance 

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Los Angeles Times Review

November 10, 2013 - Hugh Hart

Adam Silverman's unearthly pottery: The gritty, glittering ceramics of Los Feliz-based Adam Silverman are featured in Laguna Art Museum show and new picture book. 

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Santa Barbara Seasons Review

November 1, 2013 - Taylor Micaela Davis

Santa Barbara's Mary Heebner Brings Venus Paintings to L.A.

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Review: Art Scene Magazine

November 1, 2013 - Diane Calder

Lynn Aldrich: Un/Common Objects, October 11, 2013 through January 19 2014.

"Stand behind Lynn Aldrich in a Home Depot checkout line and you may begin to wonder whatshe is building with 'all that stuff.' An Art Center College of Design MFA grad who studied withfaculty members Jeremy Gilbert-Rolfe, Stephen Prina and Mike Kelley in the 1980’s, Aldrichhas become skilled in transforming 'do it yourself' materials, with all of their suggestions ofartificiality and consumerism, into works of art capable of inspiring people to examine theirimprint on nature’s ecosystem."

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Review: Art Ltd

November 1, 2013 - Amy Galpin

Ruth Pastine Interplay at Scott White Contemporary Art, September 14 - November 2, 2013.

"Although there is a precision to their creation and presentation, the strong bulges of light exuding from the depiction of the geometric shapes in Pastine’s canvases rouse a dynamic process of optical perception and in so doing, awaken the viewer’s consciousness."

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Installation Magazine Interview

October 31, 2013

Adam Silverman at Laguna Art Museum: Clay and Space. Interview with Adam Silverman. 

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New York Times Review

October 17, 2013 - Sei Chong

Artist Profile: The Dotted Line

October 11, 2013 - Terri Bond

Lynn Aldrich: Un/Common Objects, October 11, 2013 through January 19 2014.

The sacred and the mundane: Lynn Aldrich’s witty spin on consumerism in Art Center College of Design's The Dotted Line

"By making these sorts of archaic physical objects that one has to walk around in reality and be near to experience," says Aldrich, "I‘m attempting to call attention to your physicality in a world that is more and more in a cloud of information."

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Metropolis: The Select Ten

October 1, 2013 - Christopher Hawthorne and Staff

Design's leading voices help us identify the next wave of burgeoning talent. 

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Los Angeles Times Feature

September 19, 2013 - Lisa Boone

With 'Adam Silverman Ceramics,' L.A. potter turns a page

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Art Update Feature

June 21, 2013

The Whole Earth: California and the Disappearance of the Outside

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Trop Magazine Interview with Adam Berg

June 3, 2013 - Emma Kemp

Adam Berg: Rocks, Clocks, and the iPhone

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Review: The Washington Post

May 16, 2013 - Mark Jenkins

"It is, in fact, intuitive and often delicate. The paintings’ strips sometimes undulate, or exist only as an absence, as Trueman also uses tape to pull pigment off the canvas. The brush-painted colors look airy, or sometimes watery, offsetting the spray-painted geometric forms."

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ArtSlant Review

March 18, 2013 - Sandra Vista

ArtSlant Review

March 18, 2013 - Sandra Vista

Frieze Interview

February 21, 2013 - Diana Campbell

Feature: American Craft

February 1, 2013 - Ashley Wegner

Medium Man: Jun Kaneko's creative spark can't be contained. 

"The breadth of Kaneko's work is truly unusual. But if you talk to him, flowing from one medium to another is incidental. He believes every new project requires the same things: imagination and a deep understanding of materials. And every project, whether a set design or a bronze sculpture, begins the same way - with a 'creative spark.'"

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Review: Huffington Post Arts & Culture Blog

January 31, 2013

Chris Trueman: Slipstream at the Lancaster Museum of Art & History
January 26 - March 10, 2013

"In Trueman's color fields, sharp-edged lines propel fields of color with such urgency the strokes are nearly vibrating. The unusual adaptation of science into art illuminates the proximity of the two disciplines with straightforward ease. The exhibition will give science buffs a chance to nerd out on the painted phenomena (and for the rest of us art-minded folk, we can finally understand the meaning of "slipstream.") It's a win-win, really."

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Art Forum Review

January 11, 2013 - Zeenat Nagree

Hartford Courant Review

January 8, 2013 - Susan Dunne

'Making Tracks' By Laurie Frick at Real Art Ways

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Los Angeles Times Review

December 27, 2012 - Leah Ollman

Review: Adam Silverman's richly textured way with clay

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Michael Boyd: PLANEfurniture: types + prototypes

December 9, 2012 - ECAA

This sumptuous linen bound volume with hundreds of color illustrations documents the creation of PLANEfurniture and presents a essay by Michael Boyd, the designer and principal of BoydDesign, along with photographs, drawings, and sketches of furniture designs that led to the inception of innovative furniture collection.  Featuring commentary by architect, Mark Lee of Johnston/MarkLee Architects; urban and architectural historian, Thomas S. Hines; and an essay by renowned design critic and writer, Michael Webb; the distinguished publication was designed by Michael Hodgson, of Ph.D A Design Office. 

Published 2012 in hard cover and dust jacket with 116 pages in an edition of 1000. Available for $75.00.

Elle Canada Article

December 1, 2012 - Heather O'Neill

Flirty Pretty Things: Heather O'Neill recalls the allure of her first LBD experience.

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Architectural Digest Review

November 29, 2012 - Mayer Rus

Bold New Pottery by Heath's Adam Silverman

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New York Times Review

November 14, 2012 - Maria Newman

Functional Pots With Decorative Expression

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Huffington Post Review

November 11, 2012 - Peter Frank

Kimbell Art Museum Calendar Feature

October 13, 2012

The Artist's Eye: Adam Silverman

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Review: Art Scene Magazine

October 1, 2012 - Roberta Carasso

Ruth Pastine Counterpoint at Edward Cella Art + Architecture, September 8 - October 27, 2012.

"Her contrapuntal drawings are deceptively simple as complex rhythms, layers, and contours awaken the senses to experience the emergence of fresh spatial relationships. Going beyond her previous series, these works on paper reveal the “edge” rather than the seamless."

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Tel-Aviv Time Out Interview

September 27, 2012 - Ruth Patir

Adam Berg's Wormholes at Inga Gallery

Art/"The Cave Man": An Interview

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Los Angeles Times Review

September 25, 2012 - Holly Myers

Alluring "Little Conversations" with Joshua Aster at Sam Lee Gallery

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Los Angeles Times Obituary

September 14, 2012 - Suzanne Muchnic

Pedro E. Guerrero dies at 95.

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New York Times Obituary

September 13, 2012 - William Yardley

Bliss Magazine Review

September 12, 2012 - Marieke Treilhard

Art Ltd Artist Profile

September 10, 2012 - Shana Nys Dambrot

Artillery Magazine

July 18, 2012 - Martina Dolejsova

Scissors, Paper, Rock, Ball-Nogues Studio Crafts Playful Architecture and Earthworks

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June 18, 2012

Donnie Molls: Disposable Culture

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Review: Frieze Magazine

June 1, 2012 - Samuel Gross

"Vallance does not hesitate to make use of his artistic freedom – respectfully but with courage and humour – by appropriating this most connotation-laden of literary forms. He intervenes in the debate about the truth of sacred texts – a debate that remains politicized, precisely because religion transformed into truth tends to challenge the secular autonomy of the state."

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Interview: The Advocate

May 26, 2012

"I went to Miami with a small pocket camera in 1997 and brought along a box of cutout letters. I went down to the beach and started spelling out words on the sand, in my hand, in the surf. When I looked at the images I knew I was on to something. The camera is my friend."

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Highlight: Art LTD

May 1, 2012 - Molly Enholm

A haunting aura of mystery inhabits the paintings of nostalgic, lavish interiors made by San Francisco artist Patti Oleon. While the scenes at first seem inviting, Oleon manipulates the works' light, reflection and shadow, to complicate their architectural structure, and undermine the viewer's expectations. This disorientation is central to Oleon's practice, which focuses on dichotomies of reality and illusion; her Old Master style is countered with a postmodern conceptual twist. "What appears to be real--what feels realistically rendered and natural--is not necessarily so," explains Olean. "You are drawn to it, but uncomfortable and not able to place yourself rationally within that space."

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Art Scene Magazine Review

April 28, 2012 - Roberta Carasso

Reccomendations: Mark Harrington at Bakersfield Museum of Art, Bakersfield, California. 

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Artweek LA Interview

April 23, 2012 - Tracey Harnish

13 Questions for Mara De Luca - Tracey Harnish interviews Mara De Luca on her art and influences. 

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Los Angeles Times Review

March 29, 2012

Pedro E. Guerrero: Frank Lloyd Wright's photographer, in focus. 

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Art Scene Magazine Review

March 1, 2012 - Jim Daichendt

Art Scene Magazine reivew of Death and Life of an Object

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Art Ltd Review

March 1, 2012 - Jody Zellen

Wall Street Journal Review

January 24, 2012 - Peter Plagens

Los Angeles Times Review

January 19, 2012 - Holly Myers

Santa Monica Mirror Review

January 1, 2012 - Roger Morante

NY/LA Exhibits on Show at Santa Monica Museum of Art

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Austin American Statesman Review

January 1, 2012 - Jeanne Claire van Ryzin

New installation gets down to the nitty-gritty. 

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The Austin Chronicle Review

January 1, 2012 - Wayne Alan Brenner

The Austine Chronicle reivew of Laurie Frick: Quanitify Me

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Huffington Post Review

January 1, 2012

Laurie Frick's Self-Quanitifying Patterns Track the Unique Patterns of Ourselves.

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Review: HuffPost Arts & Culture

January 1, 2012 - Peter Frank

George Legrady: Refraction, Edward Cella Art + Architecture, November 5, 2011 - February 4, 2012. 

"George Legrady is one of America's leading "new-media" artists. As such, LeGrady displays not only anative prowess and imagination, but also an almost passionate willingness to experiment with, extend,and collaborate with technicians upon the amplification of new technologies."

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Huff Post Arts Review

November 18, 2011 - Tracey Harnish

In this series of paintings by Mara De Luca, a combination of nebulous skies and vistas merge with luminous and lunar light plays. In every painting the earth’s atmosphere is used like a stage back drop to create a specific ambiance. Washes of color make suggestions; a pre-dawn sky, a horizon filled with clouds or stars, aerial lights, and fog blanketing everything like a filter of fuzzy grayness. There is great and subtle beauty in these large paintings. Yet there is something about them that takes them far beyond just being lovely to look at. There is a disorientation in the locales, time is only vaguely referred to, no clear landmarks are visible, and the resulting feeling is a bit like being cast adrift in the sea. It’s disquieting in these ultra calm landscapes. Hints of man’s existence is found in words that are not easily defined, perhaps left floating in the sky by an airplane’s sky-writing message. Patterned lights invite ideas of landing lights or homes at rest in the valley, lit up at night.

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Publication: George Legrady "Refraction"

November 11, 2011 - ECAA

With an insightful introductory essay by noted critic and art historian, Abigail Solomon-Godeau, this catalogue presents, Refraction, a series by George Legrady.  The project includes eight black and white compositions, each constructed of three photographs interlaced together with a lenticular process.  Legrady creates a suite of works in which the viewer’s movement alters the narrative potential of the image. Published 2011 in soft cover. Available for $30.00.

Review: Art Ltd Magazine

November 1, 2011 - Shana Nys Dambrot

George Legrady: Refraction, Edward Cella Art + Architecture, November 5, 2011 - February 4, 2012. 

"Legrady embraces variations of cutting-edge and non-traditional imagining technologies from digital processes to lenticular printing- the better to infuse static images with both physical and narrative kinetic potential."

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Brad Miller: Primordial Algorithms

October 15, 2011 - ECAA

With an introductory essay by Jo Lauria, independent art curator and writer based in Los Angeles, this catalogue captures the astonishing installations of Brad Miller’s body of work. Porcelain sculptures, burned wood panels inscribed with bisymmetric forms, and carved clay vessels evoke the cellular patterns that are the very genesis of life. 
Published 2011 in soft cover with forty-three pages. Available for $35.00.

VitaminPh Review

September 5, 2011 - Dominic Molon

Review: TimeOut Chicago

June 14, 2011

Kendell Carter: Liberation Summer at Monique Meloche Gallery
May 21 - July 30, 2011

 "The materials that the Southern California artist chooses for his abstract works are so charged, however, that identity remains at the forefront of “Liberation Summer,” even as the show flouts expectations that black artists will interpret black history. The “drips” in works such as Drip and Stroke (pictured, 2010) are actually fat, colorful shoelaces. These and other clothes and accessories, such as Enyce shirts and big gold chains, root Carter’s mixed-media assemblages in hip-hop’s visual culture."

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Richard Neutra's Modern Architecture and Design

April 11, 2011 - Architectural Digest

When Time magazine put Richard J. Neutra on the cover of its August 15, 1949, issue, the Austrian-born architect had been designing astounding modernist houses for more than 20 years—houses, Time said, with "broad, glassy brows" and "spaciousness and compactness combined." Neutra (1892–1970) was a prophet of clean, crisp modernism, and his houses, most of which were built in California, have inspired countless architects and emboldened preservationists in an area of the country notoriously quick to raze landmarks. And why not? As Time eloquently observed, "Their beauty, like that of any sea shell, is more than skin-deep—practical, not pretentious."

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Santa Barbara Independent Feature

April 5, 2011 - Charles Donelan

A New Book Project for Mary Heebner

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Essay about Brad Miller

April 1, 2011 - Jo Lauria

Intuitive Geometry and the Elegance of Ordered Pattern in the Work of Brad Miller. 

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Interview: Art Forum

March 17, 2011 - Lumi Tan

DH: “I’VE TRAVELED SINCE I GRADUATED FROM HIGH SCHOOL, and somehow that’s contributed to my suspicion that it’s actually become my work. When I was growing up this tendency to move around seemed to be related to a sense of restlessness or boredom. But now it is more about movements, routes, and channels of distribution. Though there is still the sense of wonder that is always there.”

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Los Angeles Times: Culture Monster Review

March 3, 2011 - Leah Ollman

Art review: Laurie Frick at Edward Cella

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Fontaine Austin Studio Tour

September 1, 2010 - Claudia Fontaine Chidester and Paula Fontaine-Haake

Austin studio tour with Laurie Frick

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Review: Los Angeles Times

August 1, 2010 - Christopher Knight

Lynn Aldrich, Three Founts at Pasadena's One Colorado shopping arcade, commissioned installation by The Armory Center for the Arts. 

"Thick clusters of green and blue garden hoses currently sprout from oversize flowerpots raised high on black poles. Water dripping from the hoses into a man-made pond below converts the unlikely ensemble into a whimsical recirculating fountain, a pleasant diversion on a hot summer day."

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Art Scene Magazine Review

June 10, 2010 - Roberta Carasso

Review: Artslant

April 26, 2010 - Anna Hygelund

Patti Oleon’s latest work showcases interiors that, yes, manage to transfer you to another place. In the tradition of painting, this is hardly a revolutionary concept, after all this was a primary aim of Renaissance artists, but Oleon’s beautiful contemporary interpretation proves most refreshing in this postmodern day of age.

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LA Weekly Review

April 8, 2010 - Christopher Miles

Review: Art in America

March 29, 2010 - Elanor Heartney

Jeffrey Vallance: Relics and Reliquaries, Tanya Bonakdar Gallery
Januaray 9 - February 6, 2010

"Beneath the humor here was an underlying air of pathos, as objects with no intrinsic value or interest were redeemed by our attention. Vallance, who has worked before at the nexus of religion and popular culture, reminds us that the great spiritual traditions award a special place to the lost, the overlooked and the almost forgotten."

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Interview: Sculpture Magazine

March 1, 2010 - Collette Chattopadhyay

Collecting Specimens: A Conversation with Lynn Aldrich

"...I actually long for the natural world, and here I am living in this very artificial city that's all about glam and surface. I'm not completely depressed about it, but I think of myself as a botanist exploring the area, looking for specimens to bring back to the studio and analyze and catalogue."

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Artist Profile: Art Ltd

January 1, 2010 - Roberta Carasso

"Working with perceptual installations of multiple systems, Pastine charts a new direction, and thus expands the territory of metaphysical painting. Her installations are nothing less than sacred: a contemporary altar that disarms us. Immersed in a pure painting experience, we realize that without traditional imagery and theme, we are in the presence of the holiness of art."

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Guardian UK Feature

November 30, 2009 - James Wescott

China's urban art shows off skyscraping ambition.

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Interview: Paradigm

October 12, 2009 - Lisa Piaskowy

Lisa Piaskowy speaks with Manny Krakowski on object making and his relocation from the Northwest to Los Angeles. 

"LP: Let’s talk about your hot pink rubber cassette tapes.

MK: That color seems to be an attention getter; people’s eyes are attracted to it. I think they have a fleshy quality, which takes it out of context.

LP: Have you made any glass tapes?

MK: I have not. I’ve thought about it. I’m excited about the level of detail I can get with rubber. I’m working on this piece about the degradation of technology, and these tapes are disintegrating and falling apart. I really love how the rubber captures this falling apartness and even though it’s different from cold glass, I think they have a lot of similarities when glass is hot. Glass is very flexible when it’s hot, and I like how the rubber is flexible, so it captures the same energy as glass."

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The Boston Globe Feature

October 9, 2009 - Cate McQuaid

Can you see me now? An installation of cellphone photos mesmerizes with variety, spontaneity - and anthropology. 

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Essay by Donald Kuspit

September 18, 2009 - Donald Kupsit

Ruth Pastine's Painting

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Los Angeles Times Feature

August 2, 2009 - Paul Young

Ball-Nogues makes architecture for the moment. 

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Artist Profile: Artillery Magazine

June 1, 2009 - Tulsa Kinney

Data and Surrealism: George Legrady Alters the Public Face of Informaton Science  

"Scientists want to discover the phenomena of life, of the world — that's what scientists do. Engineers make things work. Artists are in this open zone. We can explore the aesthetics and the poetics of something. They can use stuff to create political activism, political change."

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Review: Los Angeles Times

April 24, 2009 - Holly Myers

Special installation: Changing Room at Sandroni Rey, Los Angeles CA

"It is a clever commentary on the widespread cultural and commercial co-opting of street fashion, particularly given that the mirrors are all slightly askew, fracturing the reflection of the body into pieces and making it impossible to achieve a coherent view."

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Review: Art Ltd Magazine

March 1, 2009 - Kim Beil

George Legrady: Stardust at Edward Cella Art + Architecture

"Despite the blind faith that is often placed in scientific exploration, a telescope is not a truly objective observer. Like the artist's framing of the image, science, too, shapes its inquiry and the result is inevitably inflected by these decisions, whether aesthetic or scientific."

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Essay about Mark Harrington: East/West

January 10, 2009 - Wihelm Christoph Warning

Images and Dimensions of Time from Mark Harrington: East/West.

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Feature: Ceramics Art: and Perception

January 1, 2009 - S. Portico Bowman

Jun Kaneko: Pure Form and the Indusry of Collaboration

"Jun Kankeo is a magical man who says little. He leads an exemplary focused life that connects him directly into prodigious and profound art making. From the space within this focus and silence Kaneko is probably making the largest hand-built movable ceramic art forms on Earth." 

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Los Angeles Times Review

December 4, 2008 - Holly Myers

The Washington Post Review

November 23, 2008 - Marie Arana

Intimacies: Pomes of Love: Pablo Neruda, Paintings by Mary Heebner, Translation by Alastair Reid. Harper Collins Press. 

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Jewcy Interview

September 11, 2008 - Zeek Fiction

Gary Lang: Hybrid Variations Published in 2008 in conjunction with the exhibition

September 6, 2008

Hybrid Variations marks a significant advancement of Lang’s quest to remove painting from composition and image making and liberate the artist’s activity to elemental mark making and process. This project represents the artist’s most comprehensive vision for a new palette of materials incorporating oil monotype with a progressive stratum of hand applied vinyl acrylic and oil paints on paper. The catalogue features an introductory acknowledgement by gallerist, Edward Cella, and a wonderful essay by Meg Linton, Director of the Ben Maltz Gallery and Public Programs Otis College of Art and Design in Los Angeles.

Published  2008 in soft cover in an edition of 1000. Available for $35.00.

Review: Art Forum

April 10, 2008 - Jan Tumlir

Jeffrey Vallance: BELIEF SYSTEM: 1970s Political Work and Reliquary Chapels, Margo Leavin Gallery
October 31 - December 19, 2007 

"If Los Angeles were Paris, Jeffrey Vallance would surely be delcared a national treasure, yet I'm convinced that any such public recongniation of his peculiar genius would serve only to puncture it."

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Interview: Saatchi Art

April 9, 2008 - Sarah Pearl

Kendell Carter: Common Ground at Monique Meloche Gallery
March 14 - April 19, 2008

On a normal day, passers-by can peek into the ground floor windows of Monique Meloche Gallery and find a sparse, modest-sized space with a zealous sampling of contemporary art’s most rapidly emerging names. Yet on this particular afternoon in Chicago, as Kendell Carter attended to last minute touch ups before his opening, the front room of the gallery experienced a spirited transformation. Against a backdrop of prim English wainscoting and crisp white walls broken by black stripes, Carter’s exhibit, entitled Common Ground, delivers multiple paths of social and historical inquiry. Citing Robert Irwin’s ideas as a potent stimulus for his direction as an artist, Carter weaves his personal sensibilities in and around these theories until brilliant colors and contexts explode and bleed together. A re-appropriation of urban material culture is central. Design and decoration merge as cultural yearnings enforce themselves through a skillfully fabricated environment.

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Review: Los Angeles Times

January 18, 2008 - Leah Ollman

Lynn Aldrich: All Nature Sings at Carl Berg Gallery, 2008. 

"Aldrich calls the exhibition "All Nature Sings," borrowing a snippet from a Protestant hymn celebrating creation: "This is my Father's world, and to my listening ears all nature sings, and round me rings the music of the spheres." As in the hymn, Aldrich praises the bounty and ingenuity of creation but she couches her earnestness in clever parody. Real concerns masquerade as synthetic follies."

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Review: Art Ltd Magazine

January 1, 2008 - Sharon Mizota

Jeffrey Vallance: BELIEF SYSTEM: 1970s Political Work and Reliquary Chapels, Margo Leavin Gallery
October 31 - December 19, 2007 

"'Belief System: 1970s Political WOrk and Reliquary Chapels' combines two seemingly disparate bodies of work: a series of ornate, personal reliquaries from the last two years and a collection of correspondence with U.S. senators from the late '70s, when Vallance was in his early 20s. What emerges from this strange juxtaposition is indeed a kind of belief system: a relentless self-obession behind which flickers the shadows of more serious, collective concerns."

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Review: LA Times

November 30, 2007 - Christopher Knight

Jeffrey Vallance: BELIEF SYSTEM: 1970s Political Work and Reliquary Chapels, Margo Leavin Gallery
October 31 - December 19, 2007 

"What connects this precocious early work to Vallance's latest reliquaries is their shared cheerfully revealing collision between the intensely private and the resolutely public, the personal and the institutional. It's a place we all inhabit."

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Calgary Herald Review

March 25, 2007 - Christopher Willard

A la mode: Is artist's feminism old hat?

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Art Ltd Feature

January 31, 2007 - Kim Beil

Powers of Ten: Los Angeles photographers are on the rise; art ltd. takes a snapshot of 10 emerging talents. 

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New York Times Feature

January 1, 2007 - Robin Pogrebin

Los Angeles Times Review

April 13, 2006 - Susan Carpenter

Review: Artweek.LA

April 1, 2006 - Jody Zellen

George Legrady: Algorithmic Visualizations at TELIC, January 21 - February 25, 2006. 

"Systems of display and data transfer and presentation is at the core of Legrady’s work. He statesthat while “making invisible determining systems visible” is one goal of his work, the conceptualand social significance of the data and how it is interpreted is also a vital component. Whilemaking data visual he also makes it beautiful. Because Legrady has a sophisticated sense ofdesign he is able to fuse the aesthetic and the technological creating complex works that engagewith real time and real systems in new and innovative ways."

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Art Week Review

February 18, 2006 - Peter Frank

The Globe Review

December 1, 2005 - Gary Michael Dault

Postfeminism in stilettos.

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Los Angeles Times Review

November 11, 2005

Urban sprawl; land of dreams.

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Calgary Herald Review

February 1, 2005 - Janet Naclia

Artist transforms icons of style: little black dress seen in new light.

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UCLA's Frieze Feature

October 1, 2001 - Ali Subotnick

Snapshot: New Art from Los Angeles

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Artforum Review

October 1, 2001 - Jan Tumlir

D'Arte Contemporanea Review

June 11, 1998 - Cecilia Casorati

Art in America Review

February 1, 1996 - Roni Feinstein

Ceramics Monthly Review

December 1, 1995 - Laura Dison

Review: Frieze Magazine

June 1, 1995 - David Pagel

Jeffrey Vallance: The World of Jeffrey Vallance, The Santa Monica Museum of Art
April 8 - June 11, 1995 

"‘The World of Jeffrey Vallance’ is a fun place to visit. You can go there without really leaving suburban American culture behind. Which isn’t to say that the readily accessible yet profoundly idiosyncratic domain inhabited by the peripatetic artist’s paintings, drawings and sculptures is anything like the bland, pre-programmed space in which artists predisposed to being social critics insist we all live."

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Thresholds Feature

April 1, 1995 - Gary Brown, Steve North, William Stern

Published in Thresholds: Viewing Culture, Volume 6; Spring 1992

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Aspen Magazine Review

January 1, 1994