Monday, August 21, 2023
Thursday, June 22, 2023
Sunday, April 16, 2023
"Soft Geometry, Random Texts, Ninjas, Dryads, and Other Entities: New Work by Five Artists from the Tierra Del Sol Progressive Art Studios"
Curated by Doug Harvey
Thursday, April 20 - Sunday May 7
(Also Saturday 4/22 for WLAC Earth Day Fair, 11:30 - 3:30)
(FAA Exhibition Space 101)
Fine Arts Complex
9000 Overland Ave
Culver City, CA 90230
Admission and parking are free.
West Los Angeles College Art Gallery is pleased to announce "Soft Geometry, Random Texts, Ninjas, Dryads, and other Entities: New Work by Five Artists from the Tierra Del Sol Progressive Art Studios" – an exhibition curated by Doug Harvey.
The Tierra del Sol Progressive Art Studios are an example of the remarkable system of progressive art studios mandated by California’s 1977 Lanterman Act, which empowers people with developmental disabilities to live a more independent lives.
Art – including studio practice, art history, criticism, education – and museum, gallery, and art fair antics – has accommodated neurodiversity throughout its long and complex histories. Programs such as the Californioa community college system’s DSPS (Disabled Student Programs and Services) have allowed the differently abled to participate in the educational end of the conventional Art World. But in many ways, Art Education has been ahead of the curve, neurodivergent-inclusive from its inception.
The artists of "Soft Geometry, Random Texts, Ninjas, Dryads, and other Entities” are all highly fluent in the language of visual art. Julia Hagen Brenner’s radiant, saturated renderings of archetypal mythological figures and luminous natural landscapes, Kevin Bermudez’s mesmerizing, indexical Ninja drawings, Jeffrey Rinsky’s brut-cubist figures (including a suite of off-season Santa Claus portraits), Manuel Guerrero undulating fields of stained-glass geometrics, and Mary Lou Dimsdale’s pulsating bands of found text – all are bodies of work that would hold their own and thensome in any contemporary art gallery.
Soft Geometry, Random Texts, Ninjas, Dryads, and Other Entities opens Thursday, April 20 2023 and continues until May 7th, open Saturdays 11:30 - 3:30 and by special arrangement.
For more info contact firstname.lastname@example.org or email@example.com
Thanks to Paige Wery and Maria Jones of the Tierra del Sol Foundation/Gallery, M.A. Peers of WLAC Fine Arts, and the students of Tuesday night Painting class.
Sunday, April 2, 2023
Doug Harvey: 2020 BLACK ABSTRACT PAINTINGS
April 7 - April 30, 2023
AC Institute’s The Art "Museum" of the Tired, Poor, & Rejected
2825 Dewey Road Building 202, Suite 201, San Diego, 92106 (Liberty Station)
Sheep in Wolves' Clothing is a San Diego experimental music supergroup assembled specifically for this event, and consisting of
Nathan Hubbard - percussion, drums, synth
Mathew Raker - keyboards
Dylan Lee Brown - guitar, array, mbira
Sejal Janaswamy - drums, percussion
Sidney Merritt - clarinet, Qchord, theremin, guitar
Graphically compelling, the intricate black pareidolia-inducing forms and textures recall art historical precedents from Surrealist Automatism to Chinese shanshui hua landscapes, and are intended for intimate contemplation. Collectively installed as a wall-filling grid, their combination of chaotic visual signals and precise mathematical structure conjures additional associations, including Serialism and experimental graphic narrative.
While not explicitly referencing the Trump presidency, the ongoing social upheavals surrounding racial injustice or COVID, the artist states that “it sometimes seems that all you can do in response to the hyperarticulated absurdities of contemporary society is to punch open a portal into another world with a singular post-rational gesture. Or maybe two thousand and twenty of them.”
2020 BLACK ABSTRACT PAINTINGS is also one of Harvey’s “reservoir” painting installations, where individual units of the piece can be replaced without affecting the overall impact of the installation. Individual paintings are therefore available for immediate cash & carry purchase at the communistic price of $20, or the whole shebang for a more capitalistic $35,000.
Following the exhibition, AC Books will publish 2020 BLACK ABSTRACT PAINTINGS: THE GRAPHIC NOVEL, a 520 page volume containing reproductions of the entire image sequence presented as an experimental graphic narrative, in an edition of 100, with explanatory and interpretive texts.
Doug Harvey is an artist, curator and writer based in Los Angeles. Best known in the Art World for his 15 year tenure as Lead Art Critic for LA Weekly, other journalism, and extensive body of catalog essays, he has maintained parallel practices as an independent curator and multimedia artist while steadfastly resisting vertical integration into the Academy, Marketplace, or any other Art World institution.
Harvey's art work ranges across painting, collage, found objects, film and video, performance, installation, publications, and sound. He received his MFA in Painting from UCLA in 1994 and has exhibited extensively, including over a dozen solo shows at artist-run LA galleries including POST, High Energy Constructs, and Jancar Gallery.
His ongoing series related to a set of found moldy 35mm slides (projected, printed, and displayed online) has been exhibited internationally and at venues throughout LA including The Hammer Museum, The Museum of Jurassic Technology, Jancar Gallery, LA Valley College Art Gallery, another year in LA, and the California Museum of Photography.
Reviewing his solo debut at POST Gallery, St. Sebastian Tom Sawyer Cathy Mishima Expo 67, LA Times critic David Pagel wrote "Harvey’s art makes the most outlandish conspiracy theorist look like a stodgy logician." Art in America critic Constance Mallinson said of his October 2010 solo painting show Unsustainable at Jancar Gallery “Harvey’s work reeks of rot and decay.” On the occasion of Untidy, Harvey’s mid-career survey at LA Valley College, LA Times’ Christopher Knight commented “the raging torrent of modern media-culture is his medium, and the paintings, collages, drawings and sculpture seem to regard it as a revealing cesspool of bleak but salvageable fun.”
Founded in 2004 by Holly Crawford, the AC Institute’s mission is to advance the understanding of the arts through investigation, research, and education. It is an art think-tank fostering experimentation and critical discussion through events, exhibitions, and publishing. It supports and develops projects that explore a performative exchange across visual, sonic, verbal, and experiential disciplines, encouraging critical writing that challenges conventional expectations of meaning and objectivity, as well as the boundaries between the rational and subjective. The AC Institute is a nonprofit 501(c)(3) organization. After almost two decades in Chelsea (NYC), they opened their West Coast facility The Art "Museum" of the Tired, Poor, & Rejected in San Diego in early 2023.
Their publishing wing AC Books fosters experimentation and critical discussion by publishing unique, design-forward, books on a variety of dynamic subject matters, particularly concerning contemporary art history, criticism, and art practice, including Doug Harvey’s 2013 ‘patacritical Interrogation Techniques Anthology Volume 3, a collection of pre-existing texts subjected to extreme stress to make them reveal their hidden meanings, reprints of key documents in ‘patacritical history, and original artifacts generated from new research.
Thursday, March 30, 2023
OPENING Friday April 7th 4 - 7 PM at the AC Institute's new West Coast facility The Art "Museum" of the Tired, Poor, & Rejected located at 2825 Dewey Road Building 202, Suite 201 in the Liberty Station art district in San Diego, 92106
Live improvisational music from SD experimental supergroup Sheep in Wolves' Clothing with Nathan Hubbard, Mathew Raker, Dylan Lee Brown, Sejal Janaswamy, and Sidney Merritt!
The show consists of two thousand and twenty very small abstract paintings completed in 2020. More info and full catalog forthcoming.
Saturday, December 17, 2022
Monday, November 28, 2022
Thursday, September 29, 2022
October 1 - November 5, 2022
Valley Plein Air Club:
Paulette Humanbeing, John Kilduff, Victoria Reynolds, Jeffrey Vallance,
Jenn Berger Jimmy Chertkow Nancy Evans Jeff Gillette Daniel Greene Katie Grip Doug Harvey Daniel Hawkins Tim Hawkinson Marjan Hormozi Kelsey Kuykendall Lorenzo Osterheim Rick Potts Dave Shulman Lily Simonson Young Summers The Dark Bob Alan Tofighi Scotty Vera Patty Wickman HK Zamani
Monday, September 5, 2022
Friday, October 15, 2021
Sunday, September 19, 2021
Thursday, August 26, 2021
Doug Harvey's Moldy Slides project began with a chance discovery of a cache of discarded amateur photographic transparencies dating to the 1970s in the piles of material being disposed of during an apparent hoarder intervention. The slides had been subjected to flooding and grown various types and degrees of fungal layers, altering the pictorial content of the emulsion -- sometimes slightly, sometimes transforming the image into a total abstraction. Harvey describes the resulting (washed and stabilized) artifacts as " a stochastically linked collaboration between the original vacation photographer, crazy hoarder dude, the mold, and me – plus the found and improvised soundtrack elements, and finally the audience."
The once personal narrative contained in the travel photographs had been altered, obscured and even destroyed by the natural processes of decay and the ravages of time in a manner analogous to the effects of memory loss. Harvey performs an act of détournement by transforming this pile of refuse back into a commentary on cultural amnesia and decay by using the apparatus originally intended for nostalgia.
In its performance iteration Harvey projects a curated sequence of 150 images in a slideshow accompanied by live improvisational noise music, taking on what art critic Shana Nys Dambrot called "a conceptual/semantic level, introducing issues of authorship, truth, transcendence, intention, control, chaos, narrative, meaning, and analog physicality" in a "larger conversation about photography in the digital era."
The original live Moldy Slide Show was projected at the Museum of Jurassic Technology, the Hammer Museum, UCLA, The Echo Park Film Center, and several other West Coast venues. A selection from that group were reproduced and exhibited in London through the Strange Attractor Journal, where they were hailed by cultural commentator Adam Harper (and subsequently by WIRE Magazine) as a visual counterpart to the "hauntological" music of The Caretaker, William Basinski, Indignant Senility, and others -- invoking the philosophical spirits of Jacques Derrida and Mark Fisher.
Just prior to COVID, Harvey was engaged in a revival of the project, with several performances of a live show with a new selection of moldy slides and a solo exhibit at the California Museum of Photography, consisting of an edition made with an an anachronistic printing techniques in collaboration with The ƒ/Ø Project. Romantic Landscapes Rearranged picks up where The Erinnerungen an Verlassene Zukünfte Suite left off, wandering the ruins, forests and moors in a
Wednesday, August 25, 2021
Critic Lights a Way is part of a set of recent bodies of work done in black & white (including Flash Fudd Black Box, 2020 Abstract Black Paintings, and other sub-series) that began hmmm… somewhere around late 2016!
CLaW is itself part of a series of similarly scaled painting/collages, but is different in the fact that it incorporates no painting, and was conceived and executed specifically for Khang Nguyen’s “5 Facets of Humanity: Intra-human, Meta-human, Post-human, Supra-human, Trans-human”
I read Khang’s explication of the philosophical underpinnings of his curatorial practice with great interest, percolated on them for a while, and was rewarded with an irresistible image of a figure, defined entirely by five dense and variegated fields of hermetic background data.
It is a self-portrait, consisting of a tracing of the outline of my body - lying flat on the floor - onto the paper. This was initially in the rough pose of Leonardo’s Vitruvian Man, with the intention of breaking the negative space into five sections corresponding to Khang’s facets. But I obviously revised it.
On the one hand, this plan was a little programmatic for my tastes -- improvisation keeps me awake -- and I had a second, irresistible hypnagogic vision, of the piece as it is now, more or less.
This version, while going all Mandelbrot on the facets, is also a direct homage to an oil painting by my wife, M.A. Peers, entitled Found Yuppie in Bear, 2008 (and by extension to Duchamp’s Etant Donnes and that dude on the inside of Led Zeppelin IV), which in turn was based on a radium-infused baby’s room serigraph of a bear cub tipoe-ing upstairs holding a candle.
In order to revise the figure along these lines, I deliberately repositioned and retraced my outline on my own (M.A. helped on the first version), producing an awkward and distorted figure, that nevertheless enacts an archetypal “Excelsior!”-type gesture.
Tuesday, August 24, 2021
Wednesday, August 4, 2021
Monday, August 24, 2020
Monday, August 17, 2020
Enamel on paper with watchworks. I think there were about a dozen of these, give or take. I found a box of old dead watches on the street. Not really old, and not all dead. But old enough to have moving metal parts. Each ectoplasm contained all the bits from a single watch that I could take apart with a tiny screwdriver and exacto knife.
Thursday, August 13, 2020
Wednesday, August 12, 2020
I've been locked out of Facebook for 24 hours because I've offended the algorithm again (the first time was when I posted a topless image of Sacheen Littlefeather)!