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David Horvitz with Christine Sun Kim, JFDR, and Xiu Xiu Noise, February 22, 7:30 PM

Watering a Glass Flower II, (Some Meditations for Resonating Hourglasses Sounding the Shapes of Hours) a performance inside Manny Krakowski’s exhibition: Three Trophies, Some Cacti & A Freezer.

Artist David Horvitz has conceived of a sound performance with Xiu Xiu Noise, sound artist Christine Sun Kim, & Icelandic musician and composer JFDR (Jófríður Ákadóttir), who will collaboratively perform using handmade glass hourglasses that are filled with water and function as instruments. The Artists will play the hourglasses in a layered composition in which time is experienced visually, aurally, and metaphorically. Creating these vessels out of molds from a collection of hourglasses, Horvitz imbues their defined, quantified measurements with subjectivity, assigning a sound to the units of time that they are meant to carry. A photocopied text-work will be given away.

Free entrance, all are welcome.
Performance starts at 7:30 pm

In his practice, David Horvitz suggests alternative methods of conceiving time, space, and synergy, incorporating both new and ancient technologies to measure, record, and transmit our distances. Horvitz has had solo exhibitions at Fotomuseum Winterthur, and tongewölbe T25, Ingolstadt; Edward Cella Gallery, Los Angeles, CA; Blum & Poe, Los Angeles; New Museum, New York; Jan Mot, Brussels, Dawid Radziszewski Gallery, Warsaw; Peter Amby, Copenhagen; Art Basel, 2013; Kunsthal Charlottenborg, Copenhagen; Chert. Group exhibitions include: MoMA, New York; Bielefelder Kunstverein, Kunstverein Nürnberg; Murray Guy, New York; Museum Morsbroich, Leverkusen; Crac Alsace, Altkirsch; Brooklyn Museum, Brooklyn, NY.

Xiu Xiu Noise is an American experimental noise group founded by Jamie Stewart and Angela Seo of Xiu Xiu. Xiu Xiu has produced and 13 studio albums 2002. Xiu Xiu has performed globally, including concerts at Australia’s Gallery of Modern Art and the Guggenheim Museum, NY.

JFDR (Jófríður Ákadóttir) amalgamates the sounds of changing seasons, her voice a current that moves from rough seas to smooth waters. Her first full-length album, co-produced with legendary multi-instrumentalist Shahzad Ismaily, was released March 17th, 2017.

Christine Sun Kim is an American sound artist and her work has been exhibited at the Museum of Modern Art, NY, the Hull House Museum in Chicago, and Art Basel in Hong Kong. She was named a TED Fellow twice and gave a TED Talk at the 2016 conference.

Wall Street International Magazine on Patti Oleon: Sideways, on view at ECAA from January 17 - March 31, 2018. 

USA Art News on new paintings by Patti Oleon in her exhibition Sideways, on view at ECAA January 7 - March 31, 2018. 

"Patti Oleon’s realist paintings marry the conceptual with an undeniable technical prowess. Light serves as the entry point into Oleon’s un-peopled places. Each painting first begins as a digital photo taken by the artist, which is then transformed and reworked on the computer. Some images are mirrored, while others, more subtlety play out as ghostly echoes of shadow and form."

Patti Oleon's five paintings, slated for a show dubbed "Sideways" (after the title of one work) prompt the question: What's the ceiling on painted architectural interiors? That can be taken literally, in the sense of challenging the relevance of such modes. Is it an overplayed trope, and/or ultimately placating to the market? It's also as a pun-like take on one of Oleon's recurring motifs, in which ceilings double as floors; in the case of "Danielli" --- perhaps the strongest among these new paintings --- it's not clear whether we're seeing ceiling or sky. The oil-on-panel (and linen-over-panel) paintings, ranging in size from two-feet to four-and-a-half-feet high, qualify as a jewel-like, and clearly offer eye-candy splendors in their re-interpretations of grand European lobbies, hotels, hallways and opera houses from locales such as Istanbul, Venice and Prague. 

The landscape architecture of Lawrence Halprin has been well documented, and justly so. Take one example: the Ira Keller Forecourt Fountain (1970-71) in Portland, Oregon, a public courtyard made of waterfalls and stacked concrete platforms that prompted the otherwise implacable New York Times critic Ada Louise Huxtable to proclaim it “one of the most important urban spaces since the Renaissance.”

The Fine Arts Center Gallery at the University of Arkansas, Fayetteville, AR, presents Contra, on view from November 6 - December 10, 2017, and featuring works by Kendell Carter, Nicole Cherubini, Mariah Robertson, Erin Shirreff, Jessica Stockholder, and Molly Zuckerman-Hartung.

Amid the glittering glass-and-steel towers and bustle of downtown Los Angeles, office workers could be forgiven for seeking a quiet garden with a fountain to enjoy during their lunch hour.

They might find solace in a series of four parks along Hope Street, created in the late 1980s and early ’90s by the late Lawrence Halprin. His modernist urban parks offer a feeling of serenity in the hectic core of big city life.

The landscape designer, a trailblazer in his field, is enjoying a renaissance, spurred on by a traveling exhibition that has now arrived in Los Angeles, and by a call to arms from conservationists intent on preserving his legacy against forces that would alter or tear down his monumental parks.

Halprin’s downtown LA projects include the Bunker Hill Steps, a massive concrete staircase connecting Hope Street with the Los Angeles Public Library’s Central Library on Fifth Street that is surrounded by plants and bisected by a flowing waterfall. Until recently, the water cascaded over rocky outcrops; but those were replaced by smooth bricks — a change Halprin’s fans say contradicts the original intent of the design.