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Artists:
Peter Alexander |
Lisa Bartleson |
Edith Baumann |
Larry Bell |
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Walead Beshty |
Juan Capistran |
Mary Corse |
Laddie John Dill |
Spencer Finch |
David French |
Brian Getnick |
Steve Hough |
Robert Irwin |
Kristin Klosterman |
Paul McCarthy |
John McCracken |
Andy Moses |
Bruce Nauman |
Claudia Parducci |
Ed Ruscha |
Brian Wills |
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What's New, Pussycat? brings together a selection of established California based artists who gained prominence
and/or were developing important bodies of work during the 1960's, presenting current works where possible, to
highlight their continued practice - alongside ongoing investigations by some emerging artists working today who
deal with related concerns.
On view January 22 - March 5, 2011
Opening reception: Saturday, January 22, 6pm- 9pm
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Simon Willems: A Certain Way to Fade
On view from January 22 - March 5, 2011
Opening reception: Saturday, January 22, 6pm- 9pm
This project is part of a broader one that takes contemporary news stories about hermits as a lens through which to foreground personalised utopias. Like other recent motifs the work engages with the rhetoric of belief systems, their
failure, as well as the complexity of individual choice and purpose.
More specifically A certain way to fade was conceived in response to the story of Manfred Gnadinger. Originally
a native German, Gnadinger migrated to the small fishing village of Cammelle in Northern Spain in the late sixties.
It is said he went mad there after falling in love with a teacher in the village, who refused him. A few years
later, after becoming sensitized to ecological issues, he built himself a small hut on the beach, next to the sea,
where spent the next forty years. He quickly became a local curiosity, where he was referred to in Galician as O
Alemán (the German) and then just Man – a name he eagerly accepted for its symbolism.
During this period he built an extensive oeuvre of beach-derived sculpture and artworks, as a museum within the
organic garden hehad created and ate from. He had no electricity or running water in his hut and was a strict
vegetarian. He would charge tourists 1 euro to enter his museum-garden.
Working alone with nature Gnadinger's world was crushed when the Prestige Oil spill of 2002 blighted the
northern Spanish coastline, destroying most of his garden and its contents. Soon afterwards he was found dead
in his self-made home, where it is thought he died of heartbreak and depression following the oil-spill tragedy.
My interest in O Aleman is not solely in his choice to live this way but more critically in how he was championed
as a symbol of the oil-spill tragedy, exacerbating his local fame to a point of overwhelming media intrusion that
subsequently affected his mental health and eventual death. Ironically form opting out of society he's found at its
heart.
I wanted to make a body of work that took tourist photographs as a thematic platform and catalyst for the project.
In this certain ideas presented themselves as viable motifs and possibilities. One recurring theme from earlier work
was the slogan-bannered plane. Taken as a sign of corporate advertising the idea made sense in the context of
an oddball icon being championed publicly as a commodity of mass-production. The banners spell out various
references to the story and its context in Galician, which echo the English titles. Tourist detritus and other details
present a similar logic as a ubiquitous metaphor of wholesale consumption. The abandoned baseball cap, the half-
eaten fast food and the menacing presence of the seagull parasite seemed to make exacting metaphorical sense.
Simon Willems, 2010
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On view from January 22 - March 5, 2011
Opening reception: Saturday, January 22, 6pm- 9pm
Davida Nemeroff is a Canadian artist working in Los Angeles, California. She holds a BFA in Photographic Studies from Ryerson University and an MFA in Visual Arts from Columbia University. Nemeroff's work in an ongoing investigation of the frame. Her work has been exhibited in Canada, United States, Germany, and South Korea.
She is the director of the nocturnal platform Night Gallery in Los Angeles.
Davida Nemeroff is represented by Annie Wharton Los Angeles in the U.S. and by Katharine Mulherin Contemporary Art Projects in Canada.
About VideoRow:
The Torrance Art Museum has designated a new space to feature a revolving series of video exhibitions. Recognizing the importance of the moving image in contemporary art, TAM's VideoRow will include video projects from emerging and established artists working in animation, short films, documentaries, and performance art to name a few.
VideoRow is made possible with generous support from: |
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Image: April Friges
On view from January 22 - March 5, 2011
Opening reception: Saturday, January 22, 6pm- 9pm
Etienne Zack had his first major solo exhibition at the Musée d'art contemporain de Montréal, Canada in spring 2010. His work has also been shown in solo exhibitions including Bergen Kunsthall, Bergen, Norway; Thomas Dane Gallery, London, England; Marina-Miranda, Madrid, Spain; Artcore Gallery, Toronto, Canada; Equinox Gallery, Vancouver, Canada; Art45, Montréal, Canada; Blackwood Gallery at the University of Toronto, Mississauga, Canada. Zack's work has also been included in East International 2004, Norwich, England; Nicole Klagsbrun, New York, United States; Projektraum Viktor Bucher, Vienna, Austria; Vancouver Art Gallery, Vancouver, Canada; and The Quebec Triennial, Montreal, Canada in 2008. Zack was the winner of the RBC Painting Competition in 2005, the Pierre-Ayot prize in 2008, and has received numerous grants from the Canada Council for the Arts.
Zack's work is collected in the United States, Europe and extensively throughout Canada. His work is in the collections of public institutions including the National Gallery of Canada, Musée d'art contemporain de Montréal and Musée des beaux-arts de Montréal as well as in numerous private and corporate collections. Zack is represented by Equinox Gallery in Vancouver and Art45 in Montréal, Canada.
Etienne Zack lived in Vancouver, Canada for more than a decade. He is currently living and working in Los Angeles, California.
Exhibition is partially financed by the generous support of:
