10/20/2014 - 10/24/2014
10/20/2014 - 10/24/2014
Saturday, December 1 | 6–9pm
Tuesday-Sunday | 12pm–6pm or Intermission
REDCAT: The third in a trilogy of recent animated works, Raspberry Poser is New York-based artist Jordan Wolfson’s most ambitious synthesis of digital video, computer-generated imagery (CGI) and hand-drawn animation. Read more
D300 Gallery: Mike Richards MFA ART and Patrick Ballard MFA ART
D301 Gallery: Jianhong Nicholas Liang MFA PHOTO
L-SHAPE Gallery: Elijah Ford MFA ART
MAIN Gallery Perimeter: Character Animation Departmental Exhibition
A402 Gallery: Becca Lieb MFA ART
LIME Gallery: CLOSED
MINT Gallery: Gustavo Gomez- Brechtel MFA ART
ART: Karen Atkinson is an installation artist, independent curator and founder of Side Street Projects, a nonprofit artist-run organization in Los Angeles which exhibits the work of artists internationally. She has exhibited and curated throughout the United States, Canada, Europe, Australia, Cuba, Japan and South Africa and was included in the Fifth Havana Biennial in Cuba. She has curated numerous gallery and traveling exhibitions and public projects, including the For the Time Being parking meter project, and Projections: intermission images — slides projected in commercial theaters between films. She has produced a number of projects designed for the web and digital media. She teaches Getting Your Sh*t Together workshops/classes both at CalArts and in the City of Los Angeles as well as around the country. She founded an artist run business for artists called GYST Ink, which creates software for visual artists, has support services and a newsletter about professional practices for artists.
Aiming for a painting that would stand outside the codes of representation, after BMPT’s and Support/Surface’s work of the sixties and early seventies, Bernard Brunon ended-up painting houses. "Painting a wall results in a painting of the wall, in the Modernist tradition, but does not produce an image of the wall." This led him to set-up a house-painting business, That’s Painting Productions, to which he gave the motto: “With Less to Look At, There’s More To Think About.” By managing a house-painting company, he sets painting, and art-making, within the concrete experience ofsocial and economic reality of the everyday; thus fulfilling the wish of many avant-gardes: the merging of art and life. That’s Painting Productions’s work clashes because it is situated at the junction of two economic fields that are a priori incompatible.