The Lineup: This week’s must-see art events

Art and Cake’s weekly art calendar has changed. Facebook was getting too tedious trying to cull through so many events each day with their new feature of adding many days to an event. We have decided to post only that weeks events and add more in depth information to help you decide where to go each week. In addition, each week will be a different contributor to keep the content fresh, relevant and edgy.

Enjoy and as always thank you for your continued support!!

(If you would like to submit an event or press release, send to artandcakela@gmail.com with a high res jpeg for publication)

 

This weeks Lineup contributed by Mario Vasquez

Wednesday, October 31st

 

The Death Show at Elevator Mondays
October 31st 7-10pm
http://elevatormondays.com/

ELEVATOR MONDAYS is excited to announce DEATH SHOW, the second chapter of THE GREAT FILTER TRILOGY. Building on the narrative arch that began with our previous exhibition, EX NIHILO, DEATH SHOW explores the long-term repercussions, or Planetary Feedback that may face a technologically sophisticated civilization that harvests energy from the finite natural resources of its biosphere. Inlight of the recent IPCC report on Climate Change it has become unreasonable to ignore the coming mortal impact of global warming, this exhibition attempts to serve as a reminder that all stories must end.

Come celebrate Halloween and the first day of Dia de Muertos with us for a special Wednesday Opening this Wednesday, Oct 31, 7-10pm. Costumes are encouraged, please BYOB. DEATH SHOW will be on view Mondays and by appointment through December 10th.

Thursday, November 1st

 

MFA 2019 Preview Exhibition at UCLA
November 1st 5-8pm
https://www.art.ucla.edu/gallery/2018-19/MFA2019.html

The MFA 2019 Preview Exhibition features work by UCLA Department of Art MFA students graduating at the end of the 2018-2019 academic year and includes work in ceramics, interdisciplinary studio, new genres, painting/drawing, photography, as well as sculpture.

Featured Artists: Ji Soo Chung, Max Cleary, Jantsankhorol (Jantsa) Erdenebayar, Hanna Hur, Samuel Enrique Jernigan, Zoe Koke, Aleksey Kondratyev, Beaux Mendes, Olivia Mole, Emily Nelms Perez, Amedeo Polazzo, Brannon Rockwell-Charland, Ari Salka, Maccabee Shelley, William Wasserman, Shevaun Wright, Nena Zinovieff

Friday, November 2nd

 

Ricky Swallow and Ivan Morley at David Kordansky
November 2nd 6-8pm
http://davidkordanskygallery.com/

Including several works that represent a dramatic increase in scale for Ricky Swallow, Shoulders features a group of cast bronze sculptures that relate directly to the floor or walls of the gallery without the mediation of pedestals, and finds Swallow achieving new levels of both compositional and narrative complexity. His virtuoso transformations of humble materials like rattan cane and rope, as well as his ongoing experiments with groups of recurring forms, are accompanied by additions to his vocabulary that augment the work’s surrealism and further hone its engineered poise. For all their precision, the sculptures always point back to Swallow’s hands-on processes in the studio and foundry, fusing craft and conception–and hand and eye–in mysterious ways.

For more than 20 years, Ivan Morley has made paintings defined by his unlikely approach to craft and narrative. He employs seemingly “lower” techniques and materials, such as embroidery and glass painting; at the same time, he is the author of a strange but immediately recognizable set of images and stylistic modes. These arise from remembered and misremembered histories related to California’s past. Morley’s works are organized in groups, some of which span the entirety of his career and are ongoing; each painting represents a further distortion or abstraction of the narrative that gave rise to its group in the first place.

 

Dan Colen at Gagosian, Beverly Hills
November 2nd 6-8pm
https://gagosian.com/exhibitions/2018/dan-colen-high-noon/

Over the last four years, Colen has returned to representational oil painting through more formalist investigations into the “materiality of color” and “the objecthood of paint.” Made alongside the Mother paintings (2017–18), which explore notions of safety and fear, and the Purgatory paintings (2017–18), which consider the sublime through abstract and cartoon references, the Desert paintings (2016–18) are lush yet schematic interpretations of stills from Chuck Jones’s animated shorts featuring Wile E. Coyote and the Road Runner. In the very first episode, Fast and Furry-ous (1949), Coyote attempts to trick the Road Runner by painting a trompe l’oeil tunnel on the side of a cliff. To Coyote’s astonishment, the bird runs right through the tunnel without breaking stride, yet when he attempts hot pursuit, Coyote slams into the rockface, unable to enter the space of his own painting.

 

Aaron Fowler at Ghebaly Gallery and M+B Gallery
Ghebaly – November 2nd 7-10pm and M+B November 3rd 6-8pm
http://ghebaly.com/work/aaron-fowler/

Ghebaly Gallery and M+B are pleased to jointly present a two-part exhibition of new work
by Aaron Fowler. Unfolding across the two spaces, the exhibition features a new body
of sculptures and spatial interventions in the artist’s signature language of memoiristic,
maximalist bricolage.

In large-scale assemblages that bridge the categories of painting and sculpture, Fowler
deploys a great range of found materials, from paint-soaked cotton balls and motorized
barber chairs to shards of mirrored glass and lengths of LED string lights. He corrals these
disparate objects into tributes to significant people in his life with a special focus on his
immediate family. Fowler sees each one of his images as an active, physical way of manifesting
the future, free of limitations for himself and his family members. He frequently depicts
goals and milestones he wishes to see achieved and better lives being built together.

Saturday, November 3rd

 

Worshiping Sticks & Stones at Anat Egbi
November 3rd 6-8pm
https://anatebgi.com/

Venus is in retrograde, in Lucifer, the morning star. The Moon connects with the Sun on at 9:23 PM, the votive’s out. The Russians hacked my account, so while my data’s getting exorcised I head to the sperm bank for a little relaxation. The real opioid crisis is happening behind the church, it’s a vibrating little talisman promising me everything I want. ACCEPT. SUBMIT. The shrine razed, the stars aligned; the altar begat the pedestal, the exclusive kunsthaus now the temple of yore.

This autumn, Anat Ebgi presents Worshipping Sticks and Stones, a group exhibition featuring works by Angela Dufresne, Pierre Knop, Frederik Næblerød, Penny Slinger, and Jay Stuckey. The exhibition opens November 3 and runs through December 8 at Anat Ebgi, 2660 S La Cienega Blvd.

Working across a range of media, these five artists summon existential desires in the contemporary void, focusing on collective memory alongside social and historical myths. Fashioned in the likeness of his oft-comical paintings, Jay Stuckey’s plush dolls come to life, slyly residing somewhere between confession and depraved spoof. Phases of color suggest unease in Angela Dufresne’s paintings, her oil and acrylic canvases ripple with certain deviance, suggesting a Pre-Raphaelite, cinematic reverie of details and motion. No one form has a definite identity, Dufresne’s subjects are as loose and fluid as her painterly hand. This thread continues in Pierre Knop’s crayon, graphite and oil paint tableaus depicting figurative scenes of historical satire, made fantastical through earthy, exaggerated ironies. Based on archival images and public ceremonies, Knop’s converts political chaos into humorous anachronism. Frederik Næblerød offers grotesque commentary through raw, gestural paintings alongside a stoneware piece entitled, Four Seasons, each side a monstrous visage cast in 14 karat gold. Over a four decade career, Penny Slinger has established herself as a surrealist sorceress, sifting through the subconscious to create highly erotic and mystical experiences. Slinger’s sculptures, writing, and collage work celebrates the feminine, beckoning a pre-modern idolatry through ritualized incantations of the cosmos.

Please join us in this sacrifice.

 

Ciprian Muresan and Hugo Wilson at Nicodim Gallery
November 3rd 6-8pm
https://www.facebook.com/events/410083362858079/

Welcome to Ciprian Mureșan’s fourth solo exhibition at Nicodim Gallery. Let me tell you what you’re looking at. A suite of three large-scale drawings encircle the room. Get a little closer. They show Mureșan’s voracious appetite for metabolizing the reference indexically. The School of Athens, depositions and adorations, countless archways, doughy portraits in sacred geometries, the many many Jesi… the entire career of the Renaissance’s Raphael is zoomed into focus, graphically synthesized in a snapshot, in a grand scribble. Hundreds of sketches dredge every mark the painter made. Each mark, each work that Mureșan faithfully copies is done over top of the last in a palimpsest of cultural consciousness. But this tabula scripta is rewriting art history without affect, without nostalgia, rather as something akin to data mining, a forensic nutrition for the eye as it smudges across the surface.

I bet you’re wondering what that carnage before you is. This is Mureșan’s newest untitled sculptural installation. The work shows the process of writing history played out through the live-action drama of sectarian slapstick. Mureșan has made several archetypal forms atop pedestals that have run amok in the gallery. Wax reductions of spiritual forms, icons, churches and spires, all in a soft beeswax that is more Brancusi than Orthodox, fight for momentary status of survival. Here the pantheon has turned itself into a Thunderdome as these sibling sculptures rival for supremacy.
This is how cultural sausage is made.

 

Patrice Dworkin at Garis & Hahn
November 3rd 5-8pm
https://www.facebook.com/events/195467634688319/

Heavily influenced by her environment and a strong sense of place, Dworkin’s intricately drawn mixed-media paper and sculptural works occupy the liminal space between representation and abstraction. For her current series, she was inspired by the breathtaking coastal sandstone bluffs near her home in Pacific Palisades.

 

Dustin Hodges at Richard Telles
November 3rd 5-7pm
http://tellesfineart.com/

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