examines this tension between private and public in his remarkable series of photographs of individuals driving cars in and around Los Angeles—a city famous for its car culture. By attaching a camera to the passenger side window, Bush made these pictures while driving alongside his subjects—often traveling at 60 mph. Taking notes on the speed and direction he was going, Bush created extended captions for the images and called the series Vector Portraits. More
was born on December 16, 1937 in Omaha, Nebraska. His family moved to Oklahoma City, Oklahoma, in 1941. In 1956, Ruscha moved to Los Angeles, where he attended Chouinard Art Institute, from which he graduated in 1960. Ruscha’s early paintings attracted notice as part of the Pop art movement of the 1960s; his art also has antecedents in Dada, Surrealism, and Abstract Expressionism, and would be central to Conceptual art. His work includes paintings, drawings, prints, photographs, artist’s books, and films, and is in the collections of major national and international museums. Ruscha lives and works in Los Angeles. He is represented by Gagosian Gallery. More
I am a painter; which encompasses many things. Painting is a physical activity, which is, in reality, just the act of smearing paint on a canvas. Simple, direct, tactile. At times I like to trick myself into thinking it really is that simple. But every moment of my existence – past, present and future – feeds into the “smearing of paint.” I saw my first Rembrandt and Leonardo da Vinci in the flesh when I was in my late teens. Their work, their paint smearing, didn’t seem old to me because it resonated with a sense of a deeper purpose, a higher meaning. More
works in several different mediums, including sculpture, photography and video, and is known for word signage installations, drawings, and artist's books. He explores the emotional undercurrents of everyday life, from the intimacy of romantic attachment to the distant idolization of others. In his well-known appropriation of vintage texts, Pierson references traditional American motifs (roadside ephemera, small town stores) and thus a lost era of cultural symbolism; his resulting word sculptures are imbued with both nostalgia and disillusionment. Informed in part by his artistic emergence in the era of AIDS, Pierson’s work is moored by melancholy and introspection, yet his images are often buoyed by a celebratory aura of seduction and glamour. Using friends as models, he has consistently engaged star culture, whether the stars are from the screen, stage, or art world. Sometimes infused with a sly sense of humor, Pierson’s work is inherently autobiographical; his fixation with fame affirms the tendency to yearn for an ideal, allowing for the viewer’s identification with his imagery. Fueled by the poignancy of emotional experience and by the sensations of memory, obsession and absence, Pierson’s subject is ultimately, as he states, “hope.” MORE
Kung Chee Keong
For me, painting stills the mind amid the chaos of daily life. Each work begins with a brush stroke or line which serves as an instigator for further moves. The work evolves through engagement with surface qualities, material behaviors, and physical movements associated with mark-making activities.
Sometimes, I have to let the work sit for days before intuiting whether additions or subtractions are needed. The gestation process would continue until the work reaches a state between perfection and imperfection, chance and control, density and weightlessness. While each work begins with a whisper of an idea, oftentimes the most satisfying works are the ones that end up in entirely unexpected places. More
b.1979, Athens, Greece) lives and works in New York and Los Angeles. Tsagaris received his BFA from the Emily Carr Institute of Art & Design in Vancouver, Canada. His work has been exhibited among other venues, at the “4th Canakkale Biennial of Contemporary Art”, in Turkey; at the BOZAR-Center of Fine Arts, in Brussels, Belgium; at PALAIS DE TOKYO, Paris, France; at the Belvedere Palace Museum, Vienna, Austria; At the Assab One foundation, Milan, Italy; at the Museum of Contemporary Art, Leipzig, Germany, at the Thessaloniki State Museum of Contemporary Art, at the Abrons Art Center in New York, as well as at the 2nd and 4th Thessaloniki Biennial of Contemporary Art, Thessaloniki, Greece. More
For a couple of years, Bill Durgin has explored what has become the backbone of his work: the human body. The American photographer captures and studies the anatomy and its limitations from a fresh angle, resulting in pictures that are both stunning and disturbing, yet where the nudity has a sense of fragility rather than gratuitousness. Durgin’s subjects can appear little more than half invisible, their bodies curled up to form abstract figures. The perspective with which the photographs capture them emphasise this aspect even more. Durgin works with his own body, and sometimes with dancers and performers who take contortion to the extreme. The artist challenges our perceptions of reality, and even if we can see human bodies perfectly, the result is fascinating, almost sculptural because of the unusual situations and surreal positions in which they are presented. More
is a Los Angeles based artist whose projects include documentary photography, mixedmedia and architectural installation. This current body of work evokes the friction between reality and representation that often characterizes her native Los Angeles. Reinterpreting the tradition of landscape photography, she explores the city’s cinema history and the uncanny landscape of the film set. Her dreamlike imagery suggests the presence of the sublime in everyday life and celebrates the creative impulse of a changing commercial industry that occupies the peculiar intersection of art, intellect and craft. Goode is a member of the International Cinematographer’s Guild, and The Society of Motion Picture Still Photographers. She holds an MFA from Otis College of Art & Design and a BFA from Yale University. Her work has been exhibited internationally and is in numerous private collections.
Ashley West Leonard
Born in Vermont and based in Los Angeles. I've spent most of my life in front of the camera. After performing and studying in NYC, London, and Los Angeles, I received an MFA from the University of California, Irvine, where I taught acting. Ten years later, I started taking pictures.
I have a miserable memory. Being able to record an image of a path I walked, or a sky I drove beneath allows me to relive a moment otherwise forgotten. More than that, a picture makes real a crow taking flight, or a pile of beautiful trash. In response to the science of the philosophical question "If a tree falls in a forest and no one is around to hear it, does it make a sound?", the magazine Scientific American stated, "If there be no ears to hear, there will be no sound." That's how I feel about the extraordinary instants I experience. If I don't capture them, they do not exist. And if they do not exist, what the hell have I been doing all this time?
work concerns itself with the politics of the male role in the everyday. His series Beyond the Veil seeks to investigate how perceptions of men are changing, with their role in society developing into a multilayered and complex position formed by cultural, sociological and economic change.
Moseid's open-ended narratives leave the viewer reflecting on the many diverse connotations of the role of contemporary man in Western society. Not only does this ambiguity offer a subjective dialogue between work and viewer, but the reflection echoes a human experience shared between the subject and the photographer when making the image, when both were made to contemplate their own masculinity, their relationship to one another, and the modern social implications bound to the act of photographing. By adopting the lens of mainstream media, Moseid is blurring the boundary between truth and fiction, and private behavior and performance.
Hence the viewer is left with a myriad of possibilities when confronted with the scenarios. By doing so Moseid seeks a connection with the viewer and the world through the shared experience of common, recognizable scenarios. Whether they stem from the everyday, TV, cinema or advertising.
The work aims to trigger emotional responses in the viewer that stem from the politics of stereotyping, gender classification, the forming of independent and group identities, and the barrier of prejudice.
forbearers were an ad hoc mixture of adventurer-navigators, naturalists, whalers, Puritans, dissidents, judges, and witches. He was born in the American south to a mother raised in Brahmin Boston and to a Harvard-educated geologist father who, several days after Bear's birth, was sent across the world to war in the jungles of Southeast Asia. His upbringing was scattered across the Eastern seaboard, resting longest on a farm in New Hampshire during his teen years where he learned the survival skills of tracking, fishing, and hunting. He was educated at Phillips Exeter Academy, the University of Michigan, and the University of Massachusetts, Amherst. He has made his living by turns as a stone-wall builder, roofer, mason's tender, bookkeeper, furniture builder, and video art installer. More
Like blurry afterimages drifting past closed eyelids, Kim McCarty's watercolors hover between presence and absence, innocence and wisdom, and past, present, and future. Working rapidly, at times using only a single color and at others a haunting, bruise-inspired palette of acid yellows, greens, and browns, McCarty's portraits evoke the sense of uncertainty, ambivalence, anxiety, and loss with which we view today's generation. A graduate of UCLA (MFA) and the Art Center College of Design, Pasadena (BFA), McCarty solo exhibitions include Morgan Lehman Gallery, New York and David Klein Gallery., Detroit MI., Kim Light Gallery; Cherry and Martin, Los Angeles, Briggs Robinson, New Yok, Group exhibitions include, Sex Sells, Showstudio, London, Eve, Subliminal Projects, Los Angeles, LA Emerging Artists, at the Dominique Fiat Gallery. Liquid Los Angeles: Contemporary Watercolor, Pasadena Museum of Art. Erotic Drawing, Aldrich Museum of Art, Ridgefield, Connecticut. McCarty is in the collections of The Museum of Modern Art, UCLA Hammer Museum and the Honolulu Academy of Art. More
born in North Dakota, of Mi'kmaq|Acadian ancestry, Carolyn Doucette is an American|Canadian transmedia artist with a BFA from the University of Victoria, Canada (2004). Her work has shown and screened at art galleries and film festivals in the US, Canada and Europe. Her work and research concerns the connection between humans and nature and the ecological implications of a nature/culture duality, the natural landscape vs. the "sublime" landscape and the commoditized terrain of the tourist/traveller. She lives in Santa Barbara, California and Pender Island, British Columbia and is currently working on a mixed-media series exploring her Mi'kmaq/Acadian heritage. More
I make paintings, drawings, site-specific installations, and public art works. My work stems from patterns and traces of growth and decay in the natural world and the built environment. At an early age I saw electron micrographs and lab specimens, and I am still engaged by abstracted images of nature. In addition to organic structures and patterns, I am inspired by many strains of modernist abstraction and a wide range of Asian art. I am invested in the hand-drawn line for its conveyance of individualism, imperfection, and frailty, and I see my use of line as a tenuous analogy to traditional ink painting. My work manifests my perpetual interest in the psychological and sensual significance of forms derived from the presence and effect of natural systems. More
Frances F. Denny
Pink Crush describes the visual iconography of late 20th-century girlhood, reflecting the ways in which the esthetics of an era shape a developing sense of self. The motifs and colors are reminiscent of Lisa Frank and other girlie-girl pop obsessions of the 80’s and 90’s. Despite a wariness of the saccharine, childlike qualities the subjects convey, the series as a whole betrays a longstanding attraction, and exposes how those girlish fixations can remain both outside and inside of us as grown women. More
Shifts in meaning and relationships of sense and contradiction are charateristic in the works signed by Skr, interpretations of issues and events of the contemporary world expressed in the most actual language.
Some of the prominent issues in our everyday landscape, hovering between chronicle and history, seem in fact deducted by him from the scope of journalism and proposed with the same direct impact, as a reportage. With candor and extreme lucidity he throws us in the face pieces drawn from everyday life in which the artist reads the analogy existing between the macroscopic political evolution of the events and the microscopic life of the individual. More
Combining painting and collage, American artist Aaron Morse strives to make sense of the past and the present, connecting the two so as to examine the future. Morse’s zigzagging timelines explore both historical and mythical themes, from dreamlike mountain treks to space exploration. His scenes are envisioned from above or in cross-sections. The faded colors of the tangled imagery on top of crinkled terrains evoke the remnants of time passed and require the viewer to slow down in order to grasp a bigger picture. More
Valley of the Meadows is not a depiction of the real Las Vegas, but instead is inspired by a side of Las Vegas that existed in the tumultuous era of the mid-1970s and early-1980s, where the city was in a depressing downward spiral and the criminal entities running the city were slowly losing their grip to the corporations that could outspend them. The Las Vegas I imagine is one not too divorced from reality, where the extremes of luxury and vice are out in the open and the lure of promise draws one in. It is a place that is as seductive as it is repellent.
When Hugh Holland first began photographing the skateboarders in southern California, he had already been living in Los Angeles for nine years. His interest in photography had developed in the mid-sixties as a 20-year-old living in his native state of Oklahoma. Except for a college job working in a photo lab, Holland had no formal art education. However, he spent years training his eye by shooting photographs and working with the images. More
Juan Miguel Marin
(Quito, Ecuador, 1980) is a Brooklyn-based artist whose sphere of work and influence bleeds across visual art and design, music, and filmmaking. Marin’s “Drawing Under the Influence” in fine art drawing offers a study in a meditative process of sentient creation, each piece representing part of the artist’s past or envisioned future. Working in ink and archival paper, Marin’s intricate designs explore the tension between organic shapes and textures and structured lines and monochromatic, clean composition. More
Señorita Niubó presents Colorful Spaces and Color Lab; two works in progress. Always evolving, Color Spaces and Color Lab are an exploration of color and geometry as a means to evoke an energetic parallel dimension.Señorita Niubó is a Los Angeles based artist. Born in Mallorca, Spain, she and has lived and worked in Barcelona, Paris and London. Niubó currently works as an Art Director for Media Arts Lab in Los Angeles, where she designs advertisements for Apple. In addition, she works on freelance projects as a creative director and designer for international assignments. She creates graphic art to express emotion and, to simply delight people. More
Breakfast is inspired by the banality of routine. As with my human subjects, I’m interested in looking beyond the surface to find hidden narrative in the ordinary, looking closer at the contrast between what is presented within a frame and what may actually exist. As a native to Los Angeles, I’ve been surrounded by this constant duality and attempt to capture some balance between these opposing parallels.
"My work is about colour and emotion. Like Mark Rothko I favor the simple expression of the complex thought. Over the years I have experimented with collage and mixed media painting from figurative to abstractions. I am interested mostly in colour; the juxtaposition of colour, colour harmonies, and the reflective effects of different types of paint on various surfaces, but I am also interested in the psychological and symbolic effects of colour. I often combine acrylics with various other mediums including metallic and iridescent paint, and sometimes add other elements like crystals or metal leaf to my pieces. More
As a painter and a sculptor he has had 22 solo exhibitions in cities as diverse as Louisville, San Francisco, Los Angeles, New York and Paris. Muller has been the recipient of numerous public art commissions including a mural for the Louisville International Airport Authority and the Kentucky Center for the Performing Arts. A further significant commission from the MTA Arts for Transit program in NYC was permanently installed in the spring of 2008.
is best known for her large-scale, dream-like photographs of the human form. Her work often reference classical themes with a light and insightful touch. Kuhn’s approach to her photography is unusual in that she usually develops close relationships with her subjects, resulting in images of remarkable naturalness and intimacy, and creating the effect of people naked but comfortable in their own skin.
Mona Kuhn's work has been exhibited and/or included in the collections of The J.Paul Getty Museum, The Los Angeles County Museum of Art, The Pérez Art Museum in Miami, The Museum of Photographic Art in San Diego, The George Eastman House, the Griffin Museum in Boston, Miami Museum of Art, the Cincinnati Art Museum, North Carolina Museum of Art, Georgia Museum of Art, The International Center of Photography in NYC. In Europe, her work has been exhibited at the Royal Academy of Art in London England, Le Louvre in France, Deichtorhallen in Hamburg Germany, Musée de l'Élysée in Switzerland, Centre d'art Contemporain at Musée Chaleroi in France, the Leopold Museum in Vienna Austria, and the Australian Center for Photography in Sydney. Currently, Mona lives and works in Los Angeles. More
(b. 1981), Ann Arbor, Michigan is a Los Angeles based artist and designer. He is strongly influenced by music, pop culture and vintage graphics, blending his ideas with a hand done aesthetic. Bell cleverly crafts words in his drawings and paintings to describe life scenarios. Often combining his talents as artist and designer. His works have been shown at See Line Gallery, ForYourArt and LAMAG. Bell’s work has been featured in Artslant’s Collector’s Catalogue as well as books, catalogues and various music related materials. More
Rives Granade earned a BA in philosophy from Washington and Lee University, Lexington, VA (2002), and an MFA from The San Francisco Art Institute (2008). The artist has recently shown work at Gallery Lara, Tokyo, Japan (2014), The Underground Museum, Los Angeles (2014), and Marine Projects, Venice, CA (2014). More
Created a series of Abstract Colorism Art, through spontaneous personal expression, with freedom from traditional artistic standards, different surface qualities of paint, and the act of painting itself. With its importance on spontaneous, subconscious creation, in the emotional dynamics of color. You are first drawn to his art almost purely by the predominate colors. Then you start the process of immersion. Your mind may embrace or reject the various elements but at some point your emotions take over and the art starts a dialogue with the viewer, through visual energy of the senses, promoting the feeling and essence of engagement. More
Brazilian-born Silvia Poloto is an accomplished artist working in a range of visual disciplines. She is known for her lively abstract canvases and mixed-media sculptures. Recognized for her dynamic compositions and color sensibility, Poloto exploits a vibrant visual vocabulary of boldness and subtlety. Her deftly handled juxtapositions unfold in rich, textured hues and expressive gesture. The result is a body of work characterized by equal amounts of surprise, playfulness and provocation. Her aesthetic choices engage the viewer on a visceral level. More
Thomas C. Chung
is devoted to labor-intensive and handmade processes. His attention to detail is perhaps a clue to negotiating his subjects, culled from memories, relationships, and folk tales. He alludes to a quiet voice in his works that is both quizzical and earnest. While this sincerity can appear in contrast to his playful aesthetic, the detailed textures of Chung’s paintings, and knitted sculptures reward closer inspection. Although there is a readily digestible quality to the artist’s cake-like paintings, or banquets of food rendered in wool, it soon becomes apparent as in a fairy tale, that all is not what it seems. More
“I think of my work as ‘Contemporary Landscapes’. It is an expression of my inner feelings inspired by nature and the world around me. As a trained physicist, I have come to appreciate the artistic beauty, grandeur and emotion found in nature, and in landscapes in general. I am inspired by a store of memories and experiences observing nature from mountainous wonder, to pastoral landscape, to intimate patterns and textures. I describe them as ‘contemporary’ as they are abstracted to be suggestive, as opposed to literal, to enable the viewer to interpret based on his/her past experiences and memories. More
The artist and photographer presents her photographic work 'double Trouble` a portrait of two boys that have been taken in Austria Simmering infront of an abandoned and haunted building. She was inspired at this portrait of films like The Shining and other psycho-thrillers. The photograph is a moment of an observer, be the film as the protagonist of a hallucinating person who has already Mentally lost in the building. Where reality and fiction merge into one another. Hardegg's focus are portraits in just abandoned premises and in inhabited, busy but lifeless salons mostly inspired by film, paintings and modernized with current socio-critical topics.
Conceptual thought is confined by language. Art reaches beyond words into a space where new forms of beauty can be found. Sometimes, painting feels like solving a mathematical puzzle. Other times, it feels like an improvisational dance. My paintings are records of these spontaneous processes. They simulate the chaotic rhythms of nature.