Mar 03 2010
Heian Shrine Stroll Garden/Azure Vista, 1999, Cut photo mural with mobile, Panel 76 x 48 inches, Mobile dimension varies
White Flag Projects
Newtonland: Orbits, Ellipses and other Planes of Activity
With artwork by Greg Bogin, Elizabeth Bryant, Anne Eastman, Ib Geertsen, Grabner/Killam, Jean Painleve, Jan Van Der Ploeg and Jonas Wood.
Curated by Michelle Grabner
February 22-April 3, 2010
Jan 28 2010
Jan 21 2010
Matt Mullican: Works from the 1980s and 90s to be exhibited at kunsthalle L.A.
932 Chung King Road, Chinatown
January 23 – February 27, 2010
Opening reception Saturday, January 23, 6-9 pm
SolwayJones and François Ghebaly / Chung King Project are collaborating on a solo exhibition of painting, sculpture, and prints from the 1980s and 1990s by Matt Mullican. Matt Mullican: Works from the 1980s and 90s will be presented at the Chinatown exhibition space, kunsthalle L.A. located at 932 Chung King Road, Los Angeles. The opening reception will be held on Saturday, January 23, 6-9 pm.
Matt Mullican: Works from the 1980s and 90s will include painting, etched granite sculptures and etchings and screen prints from two portfolio sets published in 1988, and 1993. The exhibition will include Untitled, 1993, a portfolio of ten silkscreen prints and 64 etchings based on twenty years of Matt Mullican’s notebooks.
For more information, please contact:
Michael Solway or Angela Jones
SolwayJones
990 North Hill Street, #180
Los Angeles, Ca 90012
323.223.0224
solwayjones@sbcglobal.net
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François Ghebaly
510 Bernard Street
Los Angeles Ca 90012
323 221 2300
info@chungkingproject.com
Dec 12 2009
by Mary Anna Pomonis
Saturday, December 12, 2009
The Bale Creek Allen sculptures at SolwayJones remind this Jet-Setter of why Texans are just so much bigger than life. Allen’s remarkable show has just enough grace and hee-haw to position his work in the same class as Rosson Crowe’s paintings. The sculptures that dominate the show are bronze tumbleweeds – yes, actual tumbleweeds folks! – each branch delicately welded and coated in nickel, 18 karat-gold or sterling silver. These elegant sculptures sit casually cocksure in their off-kilter glory; their forms so deliberately realistic that they hover just above the surface of normalcy like moissanite or fool’s gold. The only real giveaway that these are sculptures – opposed to the real thing – is the temperature of the metal. Touching one of his pieces is as exciting as petting in the back of a classic car on a deserted highway deep in the heart of Texas (without the requisite shotgun and beer, of course) and not just because one typically shouldn’t get physical with work. Just as alluring are Allen’s cast tire treads and sculptures of gold-dipped link chains with tire treads attached. These are the Texas version of ghetto fabulosity, their links the size of one’s palm.
Dec 10 2009
Q: At what moment did you first feel like an artist?
A: I led a red nude by a day bed under a deli
Nov 12 2009
William Anastasi (b. 1933)
Sink
rusted steel
20 x 20 in. / 50.8 x 50.8 cm.
1970
Christie’s New York: Wednesday, November 11, 2009 [Lot 182]
Post-War & Contemporary Day Session
Estimate 5,000 – 7,000 US$
Sold For 170,500 US$ PREMIUM Currency Converter
Provenance Acquired directly from the artist by the present owner
Nov 09 2009
Drawings as Thoughts, 2009
In the SCI-Arc Library Gallery, Jean-Pierre Hébert presents recent computational line drawings. Unlike conceptual art created from instructions given to a draftsperson, the drawings in this show are created from instructions given to a computer and printing device. The concept is precisely set not in English, but in original computer code, using scripting language such as Python, Scheme, or Mathematica.
10.23.09 – 12.13.09 | SCI-Arc Gallery
The entrance to SCI-Arc’s parking lot is at 350 Merrick Street, between Traction Avenue and 4th St in downtown Los Angeles.
Nov 09 2009
Hadley Holliday: “Paintings” at SolwayJones
by George Melrod
November 2009
Forever and Never, 2009
Maneuvering a graceful balance between precision and experimentation, the thoughtful, visually appealing canvases of Hadley Holliday are informed by a spectrum of historical precedents, but address them very much on her own terms, with far more sincerity than cynicism. Like Mark Grotjahn, the Los Angeles (Blum and Poe) -based painter who over the past half decade has glided to visible project room shows at the Hammer and the Whitney on the wings of color-chart butterflies and pinwheels, Holliday employs a conscribed formal and conceptual vocabulary to engage abstraction at its roots. In this, her first solo show, the 2004 Cal Arts MFA graduate seems to be striking out in multiple directions and for the most part hitting her mark.
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AROUND THE GALLERIES
By Holly Myers
September 18, 2009
p. D 23
Artist of a totally different stripe
If you’ve ever found yourself thinking, as I will admit that I have from time to time, that you would be quite content to reach the end of your life without ever laying eyes on another stripe painting — at least by anyone born after 1960 — then Hadley Holliday’s lovely exhibition at SolwayJones should come as a breath of fresh air: proof that there’s joy to be found yet in what has come to seem a dull and largely reactionary genre.
It’s not that her stripe paintings — which constitute roughly half of the 11 works on display — are especially radical. They’re large, for the most part (up to roughly 6 1/2 by 4 1/2 feet), and composed on unprimed canvases, to create the soft, saturated feel of a Helen Frankenthaler.
In some the stripes swirl into knots, in others they arc like rainbows staked on top of one another. In some they form grids.
Holliday is a graceful colorist, however, with trust in the simplicity of her forms to carry the nuance of her palette. (In addition to the stripes, the show includes a number of smaller squares — 30-by-30 inches — filled with free-form washes of color.) The tones are sweet without being saccharine, gentle without being timid or shallow: lavender, violet, salmon, sky blue, indigo, coral, rose and butter yellow, all grounded with shrewd accents of gray and black.
Her application of the pigment is equally sensitive. Her strokes are loose, perhaps intuitive, without being lazy. Most of the canvases are scattered with drips and, in a peculiarly charming gesture, she generally guides the stripes around them. It results in a sense of warmth and humanity that the stripe — among other classic motifs of abstraction — is often employed to deny.
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Aug 28 2009
Hannah Wilke Through the Large Glass, 1976
And there is a film by a contemporary female artist, Hannah Wilke (1940-93), who went to art school in Philadelphia, saw “Étant Donnés ” soon after its installation and remembered finding it “repulsive.” She later did a performance about it in which she assumed the place of the prone figure. And in a 1976 film made in the museum’s Duchamp gallery, she engaged with “The Bride Stripped Bare by Her Bachelors, Even,” his other grand erotic masterwork.
Dressed in a high-fashion white tailored suit and fedora, she does a slow striptease in front of the piece, or rather behind it, as the camera shoots her performance through the glass and through Duchamp’s painted phallic and vaginal forms frozen in unconsummated union.
Wilke, who was a great beauty, preens, shifts, undoes a button, tips her hat, shifts, stares, slowly pulls at a zipper. The Bride and the Bachelors can never complete their erotic task, but she can. In her performance she was the cool but active counterpart to the woman in “Étant Donnés,” just as exposed but in control of the exposure.
Duchamp, the transcendent pornographer, would have understood all these contradictions. I suspect he saw himself both as the distanced creator of his final work and as the passively light-bearing figure lying within it. And surely he would have agreed with Wilke’s tough-love words: “To honor Duchamp is to oppose him.” Because he opposed himself — or the mythical self he invented — by slaving away at material forms of art that he had declared beneath contempt. His dispassionate passion is what continues to make him magnetic. Tough self-love, perverse and seductive, is what “Étant Donnés” is about.
Aug 13 2009
Please join us for an evening of acoustic music performed by William T. Wiley (guitar) and Ethan Wiley (mandolin and mandocello)
Saturday, August 15
Performance will begin at 8:00 pm
Doors will open at 7:00 pm
Seating is limited. Please arrive early.
SolwayJones
990 North Hill St., #180,
Los Angeles, CA 90012
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“Getting the Record Crooked” (Wiley’s musical instruments)
AS TO PURPOSE
PERHAPS THE MIRACLE, THE MYSTERY,
OF OPINION, ACTION, IS ONLY ENTROPY
SINGING TO ITSELF, AND THESE INSTRUMENTS
ARE FOR THAT SONG.
- W.T.W.
William T. Wiley, Debilslied, 1986, mixed media on wood, 45-1/2 x 15-3/4 x 5 inches
William T. Wiley
American. Born in Bedford, Indiana, 21, October, 1937. Mr. Wiley has an exhibition opening at The Reynolds Center, Smithsonian American Art Museum – opening October 2, 2009
Ethan Wiley
Ethan was given his first Martin guitar on his 16th birthday by his father, artist William T. Wiley. But while attending UCLA in the late ’70s, he switched to mandolin. Many years later, Ethan produced his own critically-acclaimed CD, TAKE A STAND, recording with some of acoustic music’s best musicians, including Jon Sholle (guitarist for the David Grisman Quintet), violinist Joyce Andersen and percussionist Joe Craven (also an alumni of the DGQ). He has also recorded and composed for several movie soundtracks and has performed as a session musician for singer-songwriter Robert Morgan Fisher and others.
For more information, please contact:
Michael Solway or Angela Jones – 323.223.0224
