ART. DESIGN. ARCHITECTURE.
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Creative Creative C i Ph Photography otography h W Workshops orksho k hops of offers ffers ffers f courses abilities for studentss of all ages, abilitie es and goals, in a environment. rrelaxed elaxed yet challenging creative creative e envir onment. you Whether yo u are are a casual user, user, a developing advanced image maker artist or an a ma aker aiming for professional Creative a pr ofession nal photographic career, ca areer, Cr eative Photography will Ph Photograph t h hy Workshops Workshops k h ill provide provide id the th input i t and supportt you need to move e forward. forward.
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APARNA BAKHLE-ELLIS is a writer enthralled by the conso-
Publisher Chris Davies
nance and dissonance of ‘being’ in Los Angeles. L'écriture féminine, outsider art, and altered states of consciousness rank high among her myriad interests. She is also Fabrik’s Managing Editor.
Associate Editor Peter Frank
SUSAN BELL Originally from Edinburgh, Scotland, Susan Bell is an inter-
Managing Editor Aparna Bakhle-Ellis Creative Director Chris Davies Art Direction & Design Shout Design Agency Paul Soady Contributing Writers Aparna Bakhle-Ellis Susan Bell Nicholas Forrest Peter Frank Lanee Lee Phil Tarley David Vega Contributing Photographer Ted VanCleave Account Executive Dale Youngman
nationally published journalist. She has lived in Paris and London and is now studying architecture in Los Angeles where she owns a mid century vintage design business. Her writing has appeared in The Times of London, The Los Angeles Times, Wallpaper, LA Weekly, Marie-Claire, The Sunday Times, The Scotsman and The Sunday Telegraph. She dreams of living in a Schindler house and traveling across America in a vintage Airstream.
NICHOLAS FORREST is a Sydney/London based art market analyst, art consultant and writer. He is the founder of the Art Market Blog (artmarketblog.com) which offers independent commentaries, research and analysis on the current art market. PETER FRANK is art critic for the Huffington Post and Associate Editor for Fabrik magazine. He is former critic for Angeleno magazine and the L.A. Weekly, served as Editor for THE magazine Los Angeles and Visions Art Quarterly, and contributes articles to publications around the world. Frank was born in 1950 in New York, where he was art critic for The Village Voice and The SoHo Weekly News, and moved to Los Angeles in 1988. Frank, who recently served as Senior Curator at the Riverside Art Museum, has organized numerous theme and survey shows for the Solomon R. Guggenheim Museum in New York, the Venice Biennale, Documenta, and other venues. McPherson & Co.-Documentext published his Something Else Press: An Annotated Bibliography in 1983. A cycle of poems, The Travelogues, was issued by Sun & Moon Press in 1982. Abbeville Press released New, Used & Improved, an overview of the New York art scene cowritten with Michael McKenzie, in 1987.
Production Associate Fernando Barrera
LANEE LEE is a Los Angeles-based writer who uses her craft to pursue her
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passions: travel, culture, cuisine, and discovering artisans from around the globe. You can follow her latest quest at www.laneelee.com and @wanderlushdiary.
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PHIL TARLEY is a Fellow of The American Film Institute, an artist member of the Los Angeles Art Association and a juror on the Lark International Art Competition. As an art and pop culture critic, he regularly posts stories on The WOW Report and writes about art and photography for Fabrik Magazine. Tarley is currently working on a book of narrative non-fiction travel stories and on a variety of art projects. He has recently been appointed to a City of West Hollywood task force on public art installation. DAVID VEGA is an L.A. based writer with so many interests he might need three lifetimes to fully explore them. When not collecting chairs, building bikes, making wine, shucking oysters, climbing Machu Picchu, or learning how to build houses from hay, he can be found on his laptop at a cafe near you.
INFORMATION Fabrik is published Quarterly by Fabrik Media Group, Inc., 269 S. Beverly Drive, Suite 1234, Beverly Hills, CA 90212. Contents cannot be reproduced in part or in full without the written permission of the copyright holder. The opinions expressed are those of the artists and writers themselves and do not necessarily reflect the opinion of Fabrik or Fabrik Media Group. Copyright © 2012. All rights reserved.
ON THE COVER ART. DESIGN. ARCHITECTURE.
The Hanged Man, 2011 Thomas Lawson Oil on Canvas 72 x 60 inches (182.9 x 152.4 cm) Courtesy of David Kordansky Gallery, Los Angeles, CA Exhibiting in ‘Made in LA’. See
PRINTED IN LOS ANGELES
Iconoclast: Luc Leestemaker: 1957-2012
10 Profile: Oyler Wu Collaboration: All Strings Attached 24 Spotlight: Minotti: Freedom of Design and Passion for Detail 36 Spotlight: Robert Stone: The ‘Anarchitect’ 50 Spotlight: Folding Paper: the Infinite Possibilities of Origami 58 Art Market: How Architectural Pottery Brought the Exterior to the Interior 66 Profile: Outside The Box: The Surface and Textiles of Tracey Reinberg 76 Spotlight: Cosmic Knowledges: Site-specific Art at Mount Wilson Observatory 88 Coming Out, Going In: Another Year in LA: Going In: Drawing (Los Angeles) Coming Out: Sculpture (California) 90 Art About Town: Peter Frank’s Museum Views 92 Art Galleries & Museums
Luc Leestemaker, 1957-2012
t is with considerable sadness that the editors and staff of Fabrik note the
passing of Luc Leestemaker, artist and author, who died on May 18, his 55th birthday, after a battle with cancer. Luc was in many ways the guardian
angel of our periodical, helping to conceive it, design it, launch it, and define it. He brought his considerable gifts in several realms of communication, including the graphic and the commercial, to bear on the formation of Fabrik, all the while evolving, and enjoying a growing reputation, as a painter in his own right. Born in Hilversum, the Netherlands, in 1957, Luc was largely self-taught as an artist but took inspiration and guidance from his grandfather, a painter in the Dutch court. In his native land, Leestemaker was an organizer and entrepreneur in several arts, including visual art, theater, and literature. Working in Amsterdam, he helped found a performing arts center, an art collective, and a monthly magazine devoted to business and the arts. He was managing director of Leestemaker & Associates, a consulting firm specializing in arts marketing, financing, and public relations that at its height boasted the Dutch governmentâ€™s cultural portfolio as its most prominent client. Luc moved to Los Angeles in the 1990s. After a stint as an actor and model, he turned to painting full time. After spending a year in New York, Leestemaker developed a style influenced by Abstract Expressionism in both its American and European forms. He took particular inspiration from the examples of Willem De Kooning and Karel Appel, other Dutch artists in America. He quickly evolved a more lyrical style, however, in which the expansive brushstrokes and vivid palette of Abstract Expressionism becalm themselves, ultimately taking on the composition and atmosphere of land- and seascapes. Vigorous, yet imbued with art-historical reference, his paintings now displayed a distinctive and evocative style. Âť Web fabrikmagazine.com
LUC LEESTEMAKER UNTITLED, 2010.21 80 X 72 INCHES • MIXED MEDIA ON CANVAS
His experience in marketing and public outreach convinced Leestemaker that artists have a public role to play even beyond the presence and impact of their work. He advocated this public role to artists and non-artists alike, lecturing and giving workshops on the creative process, the artist’s identity, and the symbiosis between artist and society. To this end, Leestemaker published a memoir-like book, The Intentional Artist: Stories From My Life, in 2010. Several other books and catalogues, including the monograph Luc Leestemaker: Paintings (2004), have documented Luc’s oeuvre, as has the widelyscreened film Swimming Through The Clouds: A Portrait of the Artist (2008), directed by Terence Gross and Ruy Carpenter. In 2005, Leestemaker created a private art fund to mentor and invest in emerging and established artists such as sculptor Patrick Marold, photographer Richard D’Amore, and composer Vincent Ho. In 2006, Ho used Luc’s paintings as inspiration for a chamber music composition, Four Paintings By Leestemaker. Inspired by numerous studies that showed the potentially powerful, positive effect art can have on patients’ immune systems and post-surgery recovery time, Leestemaker initiated the Healing Art Fund in September 2010 with San Diego Magazine and La Jolla’s Madison Gallery to bring healing art into public medical facilities. In March 2012, Leestemaker was selected as a Star of Design 2012 in the art category by the Pacific Design Center. Leestemaker’s work continues to be exhibited widely throughout North America and Europe, in museums, commercial galleries, and various public spaces. It is always painful to see a talent of Luc Leestemaker’s caliber struck down in his prime. It is even more devastating to lose a friend as caring, inspiring, admirable and delightful as Luc was. At Fabrik, we feel as if we have lost both a family member and a muse. Our efforts from here on will be made implicitly in his memory, as Luc’s presence infuses the entirety of this magazine. Leestemaker leaves behind his companion, designer and TV producer Emily Lau.
LIVE WIRE, LOS ANGELES, CA. SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE, 2007 PHOTO CREDIT: OYLER WU COLLABORATIVE
OYLER WU COLLABORATION:
All Strings Attached — WORDS LANEE LEE IMAGES COURTESY OYLER WU COLLABORATIVE
MORE LIKELY THAN NOT, BEING MARRIED TO YOUR WORK IS DISASTROUS TO YOUR LOVE LIFE. FOR LOS ANGELES-BASED ARCHITECTS, JENNY WU AND DWAYNE OYLER, IT ONLY TIES THE KNOT STRONGER. Knitting, knotting and wrapping ropes are key elements in their artmeets-architecture installations, among other ordinary objects transformed to the extraordinary. From pixilating Muhammad Ali’s portrait to a giant sea anemone, Olyer and Wu are redefining traditional architectural design in both material and method. And the design community is taking notice of the couple’s coup d'état. Oyler Wu Collaboration received the Emerging Voices award from The Architectural League this year. Currently, they are furiously constructing their latest installation, Screenplay, for the Dwell on Design 2012 show in Los Angeles. Fabrik Magazine caught up with them to find out how they balance work and a relationship, their inspirations and what each other’s crucial assets are to the Oyler Wu team.
If Frank Gehry blurred the lines between art/architecture, it seems you’ve erased them completely. You built one residential tower in Taipei, but most of your projects are installations. What draws you to create art pieces rather than utilitarian structures? Actually, the percentage of installation to building projects currently in the office is about 50%, but we make no distinction architecturally. Building projects in general take much longer time to design and build so we have definitely completed more installation projects than buildings. We also tend to publish more built work therefore it may seem that we do more installations. However, despite the difference in scale, in our mind our work is both artistic and architectural, and even the larger buildings are far from utilitarian. We enjoy the challenge of working at the various scales and allow the research of one to inform the other. Examples of that exchange include things like material and structural experimentation, as well as experimentation with spatial ideas.
What inspires you architecturally and artistically? This is a difficult question for us because it is very specific to a project and the answers are never as poetic as one would expect. We are inspired by the 12
DENSITY FIELDS, LOS ANGELES, CA. MATERIALS AND APPLICATION GALLERY, 2007 PHOTO: SCOTT MAYORAL
most banal materials and seek to find new applications for. We are inspired by old techniques of fabrication that we try to apply to our work in a new way. We are inspired by the way people view and interact with a space or object, and we try to develop that experience in an unexpected way.
Ropes are a favorite design element recently, as seen in Netscape and Screenplay. What is this rooted in? Our use of rope stems from an obsession of ours in our research in linework. Line-work has been a topic that we have experimented with using various linear materials. We’re interested in these issues for a number of reasons, most of them related to their spatial nuances. For example, their ability to form screens, a subtle sense of enclosure, and spatial trajectories - all the while remaining porous and filled with a complex interplay of light.
We’re also interested in its structural characteristics, specifically the behavior of its tensile properties that brings a different formal characteristic to the table than say aluminum or steel. Related to that, we are currently experimenting with rope to find new ways of creating unconventional surfaces and enclosures.
What new accomplishment or discovery was made with the Screenplay installation? Was this the first time an installation had a functional element (the bench)? In Screenplay, we have tried to find new ways of studying and experimenting with ideas that started from previous projects. First, incorporating viewing and interaction into the experience of the work and secondly, manipulation of the rope as the material to create unexpected geometry. Unlike the reALIze project, which was about creating a pixilation of Muhammad Ali’s face, Screenplay is much more abstract and plays with the two and threedimensional viewing of a geometrical pattern. Secondly, we are using rope in a very different way than in the Netscape project. It is no longer a knitted surface. The rope is wrapped continuously around a steel frame to create three-dimensional curved planes. This is actually not the first time our installation has included a functional element. In fact, we often try to incorporate
ANEMONE, TAIPEI, TAIWAN. CLIENT: JUT DEVELOPMENT GROUP, 2011
HIGH RES LOW RISE LOS ANGELES, CA 2011
PENDULUM PLANE LOS ANGELES, CA. LA FORUM FOR ARCHITECTURE AND URBAN DESIGN, 2007 PHOTO: SCOTT MAYORAL
functional elements into our installations to provoke interactivity, and to encourage a more intimate form of engagement with the work. In some cases, such as our Live Wire installation a stair in the SCI-Arc gallery, the entire piece acted as a functional element.
The intensity and transitory-nature of your installations reminds me of Scottish artist Andy Goldsworthyâ€™s work. What kinds of emotion do you experience when the project youâ€™ve worked on for months or years is taken down? This is definitely a tough one for us, particularly with the early projects. Taking down something that we have worked so hard on is always difficult. But at the same time, it also makes the experience with the piece much more intense and memorable knowing that it is only up for a short period.
How does this impermanence affect your mindset on future projects? We try to fold in this impermanence into the design of the work. On one hand, we treat every project, whether it is permanent or temporary, with the same intense creative mindset. But with our more recent projects, we have made a concerted effort to design and build our installations in ways that could possibly give them a second life, whether itâ€™s moved to another venue or reworked in a new way.
What happens to your installation after the Dwell On Design show? Currently we are speaking with galleries and design festivals about moving it to another venue.
From your videos on your website, it seems like you are very hands-on with your installations. What take away lessons have you learned from the DIY approach? The hands-on approach is part of our design research. We learn how to better detail and implement our designs through the process of fabrication. We also find, with this intimate knowledge of material and fabrication process, we can push the design even further, aesthetically, structurally, and conceptually. 18
You both graduated from Harvard with a Masters in Architecture, which must help in launching your own firm. But you took the risky route and went out on your own, moving to Los Angeles with no clients, no safety net. Any advice for those wanting to take a similar path? Prior to starting our own office, we have both worked for many great design offices in New York. We also think it is important to not skip the step of working for good offices and really learning the complex realities of the profession. Once you have the experience, you shouldn’t fear starting your own business, but it is important to say that this is not quick and easy - or at least it hasn’t been for us. We have had to be creative about finding clients, and have invented work for ourselves when things have been slow. We would definitely encourage this for anyone having a go at it. The self-motivated work has often been the most fruitful, both in terms of its creative outcome, as well as being a catalyst for generating more work.
Since you are not just business partners, but also married, do you have fixed roles to not step on each other’s creativity? And how do you turn off work when you're at home? We let each other have their creative space. If one of us is working on the design, the other will not comment on the work until the other person is ready to show the work. We take turns developing the work that the other person started. It is an iterative process that has worked well for us. Being both partners in work and life, we actually never turn off work when we are home. The type of work we do is our passion and we love it. We just don’t really feel the need to turn it off. But it also means we don’t have to turn our lives off during work either…it goes both ways.
Oyler: What is Wu's greatest strength as an architect in the Oyler Wu Collaborative? We often say that the difficulty of bringing in someone new to the office is that they have to be good at everything. Because of the relatively small size of the office, and the role in building the projects, everyone needs to be a great thinker, designer, technician, and they need to know how to communicate and work with people. Jenny is the premiere example of that. I espeWeb fabrikmagazine.com
REALIZE, A COLLABORATION WITH ARTIST, MICHAEL KALISH, LOS ANGELES, CA. LA LIVE MAIN PLAZA, 2011. PHOTO: SCOTT MAYORAL
cially appreciate a couple of things - one, she has a way of seeing the big picture and imagining new and challenging possibilities that help to ensure there is an evolution to the work. Secondly, she is the ultimate optimist, and she sees the best possible outcome to everything. She has the kind of spirit that makes everyone around her better. That applies to a design problem as much as it does to a working relationship.
Wu: What is Oyler's greatest strength as an architect in the Oyler Wu Collaborative? It is difficult to pinpoint one specific quality because Dwayne has so many strengths that are critical to our practice. He has this amazing ability to think through a project, anticipate potential issues, and resolve them in the most creative and productive way. His intensity in everything that he does inspires everyone in the office to work harder, because most of us can only do half of what he accomplishes in any given day. This intensity is what propels the work of the office to the next level. In terms of our partnership, I do think our diversity as a team, which includes our strengths and weaknesses, is what makes our practice even better.
What upcoming projects does the Oyler Wu have on the horizon? We love the back and forth influence between the installations and the larger building work, and projects on the horizon continue to challenge the limits of that strategy. The installations include ongoing discussions with a significant museum (weâ€™ll keep the name under wraps so as not to jinx it), but this is especially exciting for us. All the while, the building projects are becoming more and more ambitious, including a house in Spain, and residential towers in Asiaâ€Śboth design challenges that we believe could benefit greatly from intense, hands-on experimentation.
Jenny Wu and Dwayne Oyler currently teach design at the Southern California Institute of Architecture (SCI-Arc).
To follow Jennyâ€™s blog about the design/construction process of Screenplay, visit Dwell.com.
REALIZE A COLLABORATION WITH ARTIST, MICHAEL KALISH, LOS ANGELES, CA. LA LIVE MAIN PLAZA, 2011
THE HOCKNEY COLLECTION
Freedom of Design and Passion for Detail — WORDS PHIL TARLEY IMAGES COURTESY MINOTTI
HERE IN WEST HOLLYWOOD, AT THE INTERSECTION OF BEVERLY AND ROBERTSON BOULEVARDS, A COLLISION OF CULTURES DESIGN THE PARADIGM THAT DEFINES THE VERY ART OF INTERIOR DESIGN. ITS IMPRINT IS REVERBERATED THROUGHOUT THE WORLD IN THOSE WHO TRACK, WHO LOVE, WHO BUY AND SELL THE ACCOUTERMONTS OF AFFLUENT MODERN LIVING. C’est moi. I must confess. I love a lamp in my bedroom more than the lover who gave it to me. Here in West Hollywood, among the design houses that quicken the heart-beat of those of us who care, there is Kartell, which features the work of Philippe Starck (who reinvented the shape of the chair), there is the savoir-faire of Rochebobois, whose colorful Bedouin pleasure pit sectionals and voluptuous chinchilla throws redefine sensuality, and then, there is Minotti. Minotti–Los Angeles has created a timely nexus in their 2012 collection where sexy minimalism combines with mid-century modern to revel in newfound rediscoveries of color, texture, materials and craftsmanship, with a nod to the 1950s. One sunny May afternoon, after a lick of fog had rolled back west towards the ocean, I met with Mary Ta, Minotti-L.A’s owner and president and Mattia Biagi, the showroom’s manager. The Minotti world headquarters are located in Brianza, near Lake
ROBERTO AND RENATO MINOTTI
Como, in Italy. The two Minotti brothers, Roberto and Renato, tour the world and get their inspiration wherever they go. Los Angeles seems to
THE MORRISON COLLECTION
THE WILLIAMS COLLECTION
be a design touchstone. I imagine that is why the tasteful Ms. Ta was given its first franchise. Mary Ta opened Minotti–Los Angeles ten years ago and Mattia Biagi joined her staff shortly after. They met in Italy. The Los Angeles showroom, which carries the full line, was the first of twenty mono-brand showrooms –though Minotti designs are carried by four hundred dealers around the world. Minotti–L.A. shows only Minotti designs, though they support their brand with art, sculpture and lighting from other purveyors of fine art product. Ms. Ta, a tall, lovely, international woman of relaxed elegance, and Mr. Biagi, a dapper, avant artiste in his own right, sat down with me in their sumptuous emporium to talk about their collection over a cup of frothy white cappuccino. THE EVANS COLLECTION
Phil Tarley: Can you tell me about some of your favorite pieces? Mary Ta: One of my favorites is the Morrison Collection of sideboards, holders, and buffets which are all inspired by California designs of the 1950’s. It’s beautifully detailed and updated with Italian craftsmanship. Mattia Biagi: I love the Jensen Chair. For me, it is a potent homage to the Egg Chair of the 50s and 60s, translated by new technologies that make the chair more comfortable and striking and give it a retro feeling with a modern embrace. Mary Ta: The Hockney Collection, too.
Much of Minotti’s furniture is
named after artists, museums and architects. The Hockneys show complex and sophisticated design in polyfoam and have many lovely artistic
MATTIA BIAGI AND MARY TA
shapes. The lounge systems are so much fun and can be used in the home, or in hotels. Mattia Biagi: The Williams 360 degree sofa can be done in leather for a sophisticated look in one environment and can be also translated in linen fabric for a beach house. Itâ€™s modern and well-scaled and there are wonderful side tables and consoles to support the sofa. The piping on each piece is very Italian. There is refinement in every detail. PT: What is the most essential aspect of Minotti design? Mattia Biagi: Passion. Passion. Passion. The Minottis are passionate about everything they do. Mary Ta:
Impeccable quality. New technologies endow Minotti with a
complete freedom of design. And we are ready to inspire our clients.
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ROBERT STONE: THE ‘ANARCHITECT’ — WORDS LANEE LEE PHOTOS BY BRAD LANSILL
e’s the James Dean of architecture. But this rebel does have a cause— a razor-sharp one. Erected by his own hands, two rule-bending houses reveal Robert Stone’s purpose: Acido Durado, a dazzling palace and the
sinister shrine of Rosa Muerta. Surrounded by the desert’s austere grandeur, the houses represent the yin and yang, Jekyll and Hyde of Stone’s perspicacity on life. Both houses have been featured in a plethora of fashion ads and design magazines for their tricked out Latino-meets-Gucci qualities. But Stone seems unaffected, as he bypassed the normal route most architecture graduates take and went out, with no architecture firm, no clients, no commission, and made his castles in the sky a reality on earth. While digging a ditch for his next house, we managed to make Stone stand still for a few moments to find out how this avant-garde architect makes his way: 36
ACIDO DURADO: FRONT STEPS
ACIDO DURADO: NORTHWEST LIVING ROOM
Fabrik: You’ve built two houses in Joshua Tree so far, Rosa Muerta and Acido Durado, can you explain which came first and what the different approaches were on each? Robert Stone: Acido Dorado was designed first, but I held it out of the press and let Rosa Muerta go public for a year before talking about it. I think of Rosa Muerta as being more physical: sex and death predominate. Acido Dorado is more mental: transcendence, hallucination. That is just how I think about them in retrospect. The whole point is to get out beyond language. It may be poetic architecture, but it is ultimately architecture and not poetry. Fabrik: How did the land inspire your design or did you have these designs in your mind and then looked for a piece of land that fit the structures? Robert Stone: I have been working for a long time on trying to push long and low structures beyond anything familiar, basically to re-energize the relationship between people, buildings and ground. The idea that architecture cuts into the ground on these open desert plains has been brewing for a long time. But I also went to the desert to make something to engage the culture, as well as the nature of the desert. The meaning of the houses arises from the interaction of all of those things. So it isn’t just the landscape. There is no such thing as nature separate from culture. Fabrik: Was it important in the end that you decided to build them yourself? Was it because you couldn’t find anyone to do what you had designed or was it a personal challenge to complete the task? Robert Stone: It helps that I know how to build, it is the "medium" of architecture after all, but I am as academic as an architect as you will find. I spent 20 years filling sketchbooks and reading and writing. I am kind of like the typical paper architect who lives in the world of ideas, except I grew up building houses so when the ideas fell into place, I was ready to go. Fabrik: How important is the form vs. function principle in your work? Robert Stone: I don’t believe they are separate. That is really the big break with the architecture of the past century that I am proposing. That form isn’t a stand-alone characteristic that can be considered separate from function or meaning. The current pretension toward “formal abstraction” in architecture is not only dishonest, but also conservative and ultimately boring.
I explored a greatly expanded definition of function in my early sculptural work and form, function and meaning entirely coalesced when I hit my stride. Fabrik: In the Los Angeles Times Magazine May 2010 article, it mentions your diverse influences such as couture fashion, roadside burials, military hardware and evil corporate modernism. What is the common thread? Robert Stone: I think there is a strange distrust of anything individualistic or personal in the culture of architecture right now – the corporate model is leading the avantgarde now because the whole “starchitect” trend was led by very thoughtless, whimbased work. So I have to admit with some hesitation, the common thread is simply a reflection of my personality and experiences. It's very out of style I know - but I have to explain this, because it isn’t the “starchitect” model of practice. My work is not about me at all. I use my own experiences to make work that is about everything else outside of me. I think great architecture has to start with some individual truth rather than the quasi-scientific approach that architecture firms present - but that is just the starting point. If I am honest and open in my search for that truth, then my work becomes much bigger than myself, which is when it gets interesting. Fabrik: You refer a lot to the Latino culture in interviews about the Joshua Tree houses and it can be seen in your houses with heart symbols, metal roses, etc. Were you raised in that culture? If not, what draws you to it? Robert Stone: I never get asked that question, thanks for asking that. It’s as simple as this - I want to make meaningful work: deeper, smarter, and more interesting in the long run. You can’t do that if you ignore the time, place, and culture. I live in Southern California, and I’m not a racist, so I don’t ignore nearly 50% of the culture that is Latino. We are all right now making the culture together. I am not even into "multiculturalism" as a topic - I am just into reality. Fabrik: Your homes are vacation rentals under the name "Pretty Vacant Properties" but you have a clear idea of who can stay there and who cannot. Can you explain your vetting process? Robert Stone: The idea is just to share my work directly with people who connect to it. I just have these two small houses and not much free time out there. I put a lot of effort into making these places available and so I steer it towards people who make an effort to connect with my work. Those are the people who enjoy it most; so that is
ACIDO DURADO: BEDROOM
whom I want out there. It isn’t at all about exclusivity, but it was always intended to be an underground project that would only be found by people who actually care about new architecture enough to seek it out. That is still mostly the way it works. Fabrik: Do you think the Joshua Tree houses can be developed into a larger project/duplicated or is that like asking Picasso to paint another Guernica? Robert Stone: I think they are a larger project, just not by me. Not in the way they look, but in how they work. I hope they open up possibilities in architecture for other people to see potential for more varied approaches and ideas. Fabrik: What is the most unexpected outcome you’ve encountered since erecting the now iconic Joshua Tree homes? Robert Stone: It has been interesting to see ideas and aesthetics that I had developed over decades that were so far out of fashion of the accepted academic architecture scene jumping from total obscurity to the covers of magazines all over the world. It was like skipping the architecture scene altogether and then coming back around. I never cared much about wide audiences; it’s the few that really get it that sustain me. But it was strange to watch the disconnected process. Fabrik: No guts no glory seems to be your design motto. What advice do you give to new architects on following their instincts, taking risks and going beyond prototype? Robert Stone: It doesn’t feel like it is about guts or glory. The process of developing new ideas unfolds over so many years that by the time anything sees daylight, it is just completely native to me. As for following instincts and going beyond prototype, the difficulty isn’t in following your architectural or artistic voice. The challenge is to have one. Architecture has this history of movements, groups of architects trying to herd together with manifestos and define the era. This never made sense to me so I knew that I had to look deeper and find new ideas on my own, but I worked for 20 years to do that. By the time I had ‘found my voice,’ I didn’t really care if the architecture world understood it as it was truly mine, and it was all I had. Really, if nothing else, I hope that my work makes it easier for others to make new architecture on their own terms. I think in part it took me so long to find my way because the avant-garde architecture scene in my lifetime has been so conservative, and the issues were so tightly framed academically such that it was—and still is for many—inconceivable that there could be alternative approaches. Watching 48
formalist architecture year after year and reading theory that denied anything subjective, made it really hard to develop my own work. I hope my work points out to others this vast field of unexplored possibilities for architecture that I now find myself in. Fabrik: What upcoming projects are you working on? Are they based in Joshua Tree? Robert Stone: I have been based in LA for 15 years. My work is all over Southern California. The next house is on the edge of a national forest, very different from the desert, and the world has really changed in 5 years. This one is all about re-considering nature in terms of nationalism, religion, ecology and war. I am doing one house at a time and I put everything I have into each one. I think the plan is to build 10-20 houses in my lifetime, one at a time, and make every one the best that I can. I guess I have a waiting list but it is sort of a question of who is ready to go when I emerge from the studio once a year. I have no intention in a professional architecture office with overlapping projects. Fabrik: If you had one thing to change about the urbanization of Southern California, what would it be? Robert Stone: If I changed something, it would only reflect my own values. I like that the built environment is like a mirror that reflects societies’ values and compulsions, good and bad. I wouldn’t want it to be better because it wouldn’t contain the truth I look for. As a culture, we get what we deserve in the built environment. That sounds misanthropic, but really I think it is more empathetic to look at our faults than to ignore and deny them. When we are good people we will build good cities; until then, they will be this inextricable mixture of beauty and tragedy. Fabrik: And bonus superfluous question: If you had one mediocre superpower what would it be? Robert Stone: Ha, I actually think I have a mediocre superpower already. Sleep is sort of optional for me. I was destined to either be a studio-obsessed architect or a long-distance truck driver. — LINKS:
www.robertstonedesign.com www.prettyvacantproperties.com Web fabrikmagazine.com
FOLDING PAPER: THE INFINITE POSSIBILITIES OF ORIGAMI JAPANESE AMERICAN NATIONAL MUSEUM
— WORDS SUSAN BELL IMAGES COURTESY JAPANESE AMERICAN NATIONAL MUSEUM & THE ARTISTS
MASK, 1999 ERIC JOISEL. PAPER (FOLDED WET AND COATED) ON WIRE, PHOTO COURTESY OF THE MINGEI INTERNATIONAL MUSEUM, SAN DIEGO.
nside a building in Little Tokyo, a swarm of locusts hovers menacingly in midair. Dare to move a little closer and you will see something extraordinary, for this threatening-looking plague is actually made out of bank notes, with each insect intricately folded from one uncut sheet of 21 one dollar bills. This chilling installation is currently on display Downtown at the Japanese American National Museum as part of a major exhibition entitled “Folding Paper: the Infinite Possibilities of Origami,” which is on show until August 26. Featuring 140 works by 45 international artists from 16 countries, this ground-breaking show is the first museum exhibition to explore the history of paper folding in the East and West, present works by contemporary artists from all over the world and demonstrate the impact of origami in such diverse realms as design, science and the global peace movement. The locust swarm is the work of Sipho Mabona, a Swiss-South African origami artist who is now considered one of the most accomplished paper folders in the world and among the first to specialize in origami installations. Each complex, anatomically correct insect – and there are 144 of them -- took him five hours to fold. Mabona is the perfect illustration of a new generation of international paper folders who are demonstrating that the ancient Japanese art of origami has evolved from a simple folk craft into a highly sophisticated and dynamic contemporary art form capable of making powerful political and social statements about our modern society. According to Mabona, the transformation of money into locusts is a reference to the large multi-national investment corporations that take over smaller companies throughout the world and then discard them for quick profit. In German-speaking countries in Europe, such companies have recently been referred to as “Heuschrecken”, or locusts, spreading in swarms and greedily devouring local businesses. Mabona chose to fold the locusts out of U.S. currency, as the dollar is the globally recognized symbol of capitalism. Each insect has been masterfully designed so that George Washington’s head appears over the wings and upper back while the words “In God We Trust” is emblazoned across their foreheads. The mention of God reminds us of the Biblical references to swarms of locusts sent to punish those who had behaved badly. This sobering work is fascinating, not just because of the powerful message it conveys, but also because of the unexpectedness of the medium. Origami, Web fabrikmagazine.com
ORIGAMI GOWN, AVANT GARDE, INSPIRED BY THE BOX AND THE CRANE, 2011 MONICA LEIGH. SILK. INSTALLATION PHOTO BY SIMON FONG.
STAR TESSELLATED DRESS AND HIGH HEELS, 2010 LINDA TOMOKO MIHARA. DRESS AND EACH SHOE: FOLDED FROM SINGLE SHEETS OF PARCHMENT, NO CUTS, PHOTO BY NORMAN SUGIMOTO.
long dismissed even in Japan as a simple children’s craft, is finally coming into own as a legitimate art form. No one knows when the ancient art of paper folding began. Paper itself appeared in its modern form in 2nd century China and papyrus dates back thousands of years before that to ancient Egypt. However, the earliest references to paper folding in Japan do not appear until the 16th century with written descriptions of folded paper butterflies. By the 17th century, books were printed containing images and instructions for folding birds, boats, flowers and even human figures. Very few, if any, of these early examples of origami have survived today. As exhibition curator Meher McArthur points out: “The fact that folded objects were never sufficiently valued to be pre52
served, combined with the fragility of the materials used, means that origami has traditionally been, by its very nature, an ephemeral art form.” Another problem, as exhibition advisor and renowned origami artist Dr. Robert J. Lang notes in his essay in the catalog for ‘Folding Paper,’ was that practitioners of origami came from widely differing backgrounds, from the traditional Japanese metal worker to a circus knife-thrower from Argentina. There was little to unite them or allow them to communicate until Akira Yoshizawa (1911-2005), who is widely regarded as the father of modern origami, revolutionized paper folding in the mid 20th century. Not only did Yoshizawa create thousands of new forms, he also crucially developed a universal pictorial language that allowed origami artists the world over to share their designs and techniques. Another valuable contribution was made by a small, passionate group of folders in Japan who called themselves the Origami Tanteidan, or “Origami Detectives.” They pushed the limits of the art to new heights and also began studying the mathematical and geometric laws governing origami. Lang himself is responsible for another giant leap forward in the 1980s. An eminent former physicist at the NASA Jet Propulsion Laboratory at the California Institute of Technology in Pasadena, Lang gave up his brilliant career as a scientist to devote himself full-time to his passion for paper folding. (Like Mabona, Lang is now regarded as one of the world’s foremost origami artists.) His development of a design technique he dubbed “circle packing” was also discovered independently at around the same time by Japanese biochemist Toshiyuki Meguro. This technique revolutionized paper folding because it permitted artists to design multi-appendaged origami creatures. Web fabrikmagazine.com
FLY, 2010 GIANG DINH. WATERCOLOR PAPER. PHOTO COURTESY OF THE ARTIST.
03M (PARTIAL SHELL), 2010 RICHARD SWEENEY. WATERCOLOR PAPER, WET FOLDED. PHOTO © RICHARD SWEENEY.
Many such creatures are on show at the exhibition, including the stunningly lifelike “Pangolin,” by French artist Eric Joisel and Lang’s own eight-legged “Emperor Scorpion,” with its impressive pincers and deadly curved tail. While many origami artists excel at representational figures, whether complex, naturalistic or stylized like the fantastical work of American Jared Needle whose half-rabbit, half-dragon “Bunny God” is inspired by the whimsical creatures of Japanese anime, others prefer to create geometric forms or abstract constructions. American Jeannine Mosely, a graduate of M.I.T. with a PhD in electrical engineering and computer science, believes paper folding is a way of bringing mathematical formula or theorem to life. Her 30-faced poetic Triacontahedral Orb resembles the multi-colored craters of a perfectly symmetrical moon. British artist Paul Jackson takes a philosophical approach to origami, McArthur explains, preferring forms “that appear to have been ‘discovered’ in the paper, rather than ‘contrived’ from it.” His exquisite hand-colored pastel bowl shapes are folded and then released, allowing them to find their own form, like the petals of a blossoming flower. 54
Visiting the exhibition, it is often hard to believe that these intricate, complex and expressive paper sculptures are created out of a single square sheet of paper with no cuts, no glue. The exhibition also takes a fascinating look at how origami inspires design, whether it be in the realm of architecture, fashion or animation. Origami is a sculptural art form that shares, with architecture, strong links with mathematics, science and engineering. It is not surprising that architects in recent years have begun looking to origami for design inspiration. A noteworthy example is the prize-winning Klein Bottle House designed in 2008 by architectural firm McBride Charles Ryan on the Mornington Peninsula in Australia. As its name suggests, the holiday home is based on origami version of the Klein bottle, which like a Mobius Strip is a non-orientable surface, but which, unlike the Strip, has no boundaries in the same way a sphere has no boundaries. The resulting building is daring, unexpected and playful in its design, featuring topographically uniform but visually distorted surfaces which create unique interior and exterior space with planes and angles that call to mind the precise, abstract folds of origami.
SIX INTERLOCKING PENTAGONAL PRISMS, 2010 DANIEL KWAN. 90 RECTANGLES OF PAPER. COURTESY OF THE ARTIST, PHOTO BY SHUE-YU KWAN.
Visitors to the exhibition can admire the work of two contemporary fashion designers, Los Angeles-based Monica Leigh Rodriguez, whose red silk satin organza evening gown was inspired by an origami box and crane and JapaneseAmerican Linda Tomoko-Mihara, whose star-tessellated off-the-shoulder dress and matching shoes were each folded from one sheet of white parchment. Visitors can also enjoy a variety of films about origami, including Mabona’s innovative commercial animation for Japanese sports company Asics. Another conceptual work with a more upbeat message is Israeli artist and peace activist Mira Golan’s work “Two Books,” showing origami figures tumbling from the pages of books representing the Koran and the Torah to join together in a message of reconciliation. And while Mabona's plague of locusts can be interpreted as a warning against the evils of unrestrained capitalism run amok, he believes his work also carries a message of hope. “Although a locust swarm is scary,” says Mabona, “where there is the ability to transform, there is hope. In origami, paper is folded into forms, like these locusts, but the forms can be unfolded again. The creases will remain, but the paper can be folded again into something else -- perhaps butterflies.”
VELOCIRAPTOR SKELETON, 2011 HIEU TRAN TRUNG. OVER 70 SHEETS OF UNCUT SQUARE AND RECTANGULAR VIETNAMESE WRAPPED PAPER. PHOTO COURTESY OF THE ARTIST.
TWO BOOKS, 2010 MIRI GOLAN. PAPER & HANDMADE BOOKS. PHOTO © LEONID PADRUL-KWITKOWSKI/ERETZ ISRAEL MUSEUM.
FROG ON A LEAF, 2007 BERNIE PEYTON. LEAF: ONE RECTANGULAR SHEET OF FABRIANO BACKED WITH MANGO. FROG: ONE SQUARE SHEET OF BACK-COATED SHIKIBU GAMPI SHI. ARMATURE: WOOD, ACRYLIC, NYLON THREAD, MAGNETS. PHOTO BY ROBERT BLOOMBERG.
HOW ARCHITECTURAL POTTERY BROUGHT THE EXTERIOR TO THE INTERIOR â€” WORDS NICHOLAS FORREST
n exploration of the relationship between the exterior and interior of residential and commercial buildings has given rise to some of the most interesting and exciting design objects produced during the modern era.
As part of the Design Loves Art event held at the Californiaâ€™s Pacific Design Centre (PDC) in conjunction with the West Week 2012 interior design trade conference, an exhibition titled Material Matters, Geometry, Repetition, Order + Proportion: Typological Implications of Material was presented at the centre which consisted of twenty-five works by five architects. In the spirit of re-purposing mundane materials that characterizes current design practices, the architects who took part in the Material Matters exhibition were given the challenge of re-envisioning the 25 wok-like white concrete planters that populate the PDC as specific sites to explore the intersections between art and design. It was in the same spirit of re-purposing mundane materials and exploring the connection between architecture, art and design that the Architectural Pottery 58
company was founded in Los Angeles in 1950 by Max Lawrence and his wife Rita who saw the commercial potential of work being produced by ceramic students under the guidance of LaGardo Tackett at the California School of Arts. After seeing the designs that resulted from a challenge Tackett gave to his students who were asked to create designs to fill a void in the home accessories market, enterprising couple Max and Rita Lawrence were so impressed that they seized upon the opportunity to produce and distribute the designs on a commercial scale. Talented designers and artisans such as David Cressey, Malcolm Leland, John Follis, Raul Coronel, Rex Goode and Marilyn Kay Austin Potters were called upon to provide designs for the company. Considered radical at the time, the cone, cylinder, bullet, gourd and totem formations that were a feature of the companyâ€™s designs proved popular with interior designers and architects. The large-scale geometrically shaped vessels that were the signature pieces of Architectural Pottery were identifiable by their clean, simple, graceful and pure forms which allowed architects and designers to incorporate them seamlessly into their homes and buildings.
Commenting on the architectural and design trends that were influential at the time that Architectural Pottery was launched, Rita Lawrence said, in a statement to an editor in 1965, that “Southern California then (1950) was exploring a way of making living space of the outdoors - a way of life that has since been adopted nationally and even internationally. Architectural Pottery provided a portable landscape and a focal point in garden plantings, then carried the motif into the home and office.” As it turned out, Max and Rita had identified a new niche market for geometric earthenware that would take advantage of the flourishing modernist architecture movement which had developed in South California after World War II. Soon after it was launched, Architectural Pottery attracted the attention of famous architects such as Richard Neutra and John Lautner who ordered pieces from the company for modernist homes they were designing. Further recognition came by way of a “Good Design” label awarded in 1951 by New York’s Museum of Modern Art to a number of designs from the company’s first catalogue, some of which were also included in an exhibition at the museum. Prices for Architectural Pottery peaked between 2006 and 2008 in conjunction with the peak of the art market boom. At the height of the price peak, Chicago based Wright Auctions sold one of the most spectacular and iconic designs produced by Architectural Pottery, a model IN LaGardo Tackett Totem sculpture, for $15,600 against an estimate of $7,000–9,000. 60
LA GARDO TACKETT, ARCHITECTURAL POTTERY PLANTERS, 1950'S CALIFORNIA.
Unfortunately, the market for Architectural Pottery appears to have suffered as a result of the art market correction and the global financial crisis though signs of improvement have emerged over the past couple of years. Although a sad occasion, the death of Max Lawrence in August 2010 at age 98 seems to have been a catalyst for renewed interest in the objects produced by the company that he co-founded. Sotheby’s March 7, 2012 ‘Private Collection of Mid-Century Design and Ceramic Art’ auction included a number of Architectural Pottery items, the highlight of which was a spectacular Earthcells planter produced for Architectural Pottery by David Cressey that sold for $4,375 against an estimate of $3,000-$5,000. Also offered at the Sotheby’s sale were three different lots each consisting of six vessels by designers such as LaGardo Tackett, John Follis, Malcolm Leland and Rex Goode, all of which achieved good prices. Two of the lots achieved $7,500 against high estimates of $8,000 and $9,000 respectively while the third lot sold for $6,875 against an estimate of $6,000 - 8,000. One of the most unusual objects produced by Architectural Pottery was model G99, which was designed by Rex Goode and known colloquially as the “pig” planter. A version of Goode’s planter sold at Los Angeles Modern Auctions on the 26th of June 2011 for $8,750 against an estimate of $2,500-$3,500. Bonhams Los Angeles also sold one of the “pig” planters along with a similar peanut shaped planter in 2009 for $7,320. »
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Even at the height of the Architectural Pottery price peak, the objects being sold at auction were undervalued. However, thanks to the increasing integration of objects of design into the mainstream art market and a greater appreciation for the contribution made by producers of less popular art forms such as ceramics, the future of the market for Architectural Pottery looks positive. Although the Architectural Pottery company ceased production in 1985, Vessel USA Inc. was founded in 1998 to revive the stunningly simple planters and other ceramic designs that brought acclaim to the Architectural Pottery Collection.
OUTSIDE THE BOX: THE SURFACE AND TEXTILES OF TRACEY REINBERG — WORDS DAVID VEGA IMAGES COURTESY TRACEY REINBERG
f memory serves me correctly, I met Tracey Reinberg about six years ago in an Echo Park café where I was studying Italian for an upcoming trip to Europe; the wiry brunette with blue-green eyes had noticed the pocket dictionary in my hands and addressed me with the kind of vocabulary that meant years more experience than my recent six-week crash course had given me. The exact content of her Italian address was delivered too quickly for my head to fully comprehend, but her easy demeanor and warm smile invited further conversation, so we chatted about where I would find excellent pizza in Rome, her favorite theater, and what café I should not miss. She showed herself to be a witty wordsmith (in both Italian and English) with a taste for zippy compact sportsters and old chairs hung high above dining room tables. I was kept on my toes. Impressed. From that moment on, we were friends. This spark has made the award-winning surface and textile designer a valuable commodity in the industry for over 14 years. It is found in her creations for Maharam, Knoll, HBF and in her metallic light-shifting vinyl wall coverings for Koroseal. Much of her surfaces instantly grab your attention, their energetic, well-ordered systems giving you enough of a puzzle and a wink to keep your mind occupied. 66
These designs may well be representations of an inexhaustible energy, it seems. They are products of her constant search for new design challenges and innovative application. The challenges of her craft often entail a respectable amount of decision making: where should fibers intersect? In what direction should lines run? How will these graphic elements translate to weaves, and how will they affect the overall character? “There’s an incredible human effort in creating industrial textiles,” she says. “If you think about it, every [manufactured] surface was designed. Someone had to think about car upholstery, carpet, leather, jacquard mohair. They had to think about how the nap would lay, how the fibers would feel to the hand and look in different light. In my work, often the challenge is to make plastic not look like plastic.” Reinberg hasn’t always worked as a pattern problem solver, however; when she was in her early twenties, she planned on a career in photography. After first enrolling in photo (and Italian) courses at the University of Texas at Austin, she found an opportunity to study a year abroad at the Instituto Europeo di Design in Rome, adding furniture and interior architecture coursework to her schedule. A move to New York in 1992 led to a short stint shooting book covers for various publishers and exhibiting her work at galleries. Here we see the layering, reflection and repetition in her compositions that have now become a signature in her textiles. The interest in design stuck with her through it all. With it came a restlessness that could only be satisfied by exploring other applied arts, and less familiar surroundings. In the past three years, Reinberg has lived in L.A., Toulouse, and Seattle, and spent some time in Morocco to meet with ceramic craftsmen for her current venture, Kismet Tile. Supervising the execution of her designs is of utmost importance to her and always will be. Still, her home country keeps calling her back, the place “where there is this tremendous freedom to be anything you want to be.” “There’s something liberating...here, that I didn’t expect, that you don’t find in other countries,” she explains. “In France, people did not believe me when I told them that much of my training in design was self-taught. We are a very unpretentious people here in the U.S. It’s something that has shifted my restlessness.” This “restlessness” seems to be more a product of her energy than the aimlessness it suggests, and has been helpful in pushing her to do the unexpected.
Throughout her tile work, one recognizes hidden systems and infinite possibilities. As a result, Reinberg’s designs remain fresh while still paying respect to the basic principles of art. There are, of course, historical antecedents; her tiles are not unlike Moroccan zillij or Josef Hoffman’s Wiener Werkstätte textiles, early Russian Constructivist prints or a Verner Panton dream sketched on a hundred
party napkins. Movement is achieved by daring use of color and the spatial relationship between individual tiles. A mathematical beauty runs through the various configurations she discovers, especially when patterns are reflected repeatedly. Reinberg prefers the title “surface and textile designer” over “textile designer,” reminding me that she already has her crosshairs set on new applications beyond fabric. Though most of her time is spent flitting from computer to client, her head is busy with future projects: pool tile, glass, architectural elements, and furniture, to name a few. If her non-linear trajectory is an indication of where she’ll end up, I wouldn’t be surprised to see a Tracey Reinberg modular yurt someday, its tiled metallic panels reflecting beams of light across a grassy yellow field.
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COSMIC KNOWLEDGES: SITE-SPECIFIC ART AT MOUNT WILSON OBSERVATORY — WORDS APARNA BAKHLE-ELLIS IMAGES COURTESY CENTER FOR LAND USE INTERPRETATION & THE ARTISTS
n physical cosmology, the first generation of hyperstars, believed to have formed
less than a billion years after the big bang, emitted light that ended the ‘cosmological’ dark ages. This earliest brilliance was termed first light. It seems apt to
frame KNOWLEDGES similarly, as this emerging artist-organized curatorial initiative aspires to facilitate an entirely unique experience of the Mount Wilson Observatory through a contemporary arts lens.
In seeking to create dialogue
between contemporary art practice and geographic sites of historic, scientific, or under-examined cultural influence, KNOWLEDGES engages the public in direct experience with art and site. Ever since Edwin Hubble discovered the ‘general expansion’ of the universe using the Hooker Telescope, Mount Wilson Observatory has played a significant role not only in the history, aesthetics, and ecology of Los Angeles but also astronomy, scientific discovery, space exploration, optics, recorded observation, and philosophical questions of cosmology. KNOWLEDGES Founder Christina Ondrus and Elleni Sclavenitis, Associate Director and co-curator with Ondrus, both also artists, germinated an inspired impulse to bring together over 30 contemporary artists whose work extends from the nexus of ideas embodied by the Observatory itself. 76
ALL IT IS, AND EVER WAS, AND EVER WILL BE CODY TREPTE, 2010, GRAPHITE AND DIAMOND POWDER OVER SILKSCREEN ON PAPER IMAGE COURTESY OF THE ARTIST
LUMERENCE (ABOVE) MIWA MATREYEK, 2012 - DIGITAL VIDEO, IMAGE COURTESY OF THE ARTIST
FIG 21. DARK GALAXY (VIEW FROM CENTER, VIEW FROM ORBIT)” AND “PERADAM (DARK GALAXY) (LEFT) KARA TANAKA, 2011 COWHIDE AND INK, CAST OFF HAIR AND SKIN, SILK CHORD, IMAGE COURTESY OF THE ARTIST AND SIMON PRESTON GALLERY
STELLAR SUSPENSION (BOTTOM) LITA ALBUQUERQUE, 2008, VIDEO INSTALLATION, IMAGE COURTESY OF THE ARTIST, PHOTO: STEVEN HELLER
FINAL SPACE (ABOVE) CLOUD EYE CONTROL, 2012, IMAGE COURTESY OF THE ARTIST
SOLAR INVOCATION (LEFT) GABIE STRONG, 2012, COLOR PHOTOGRAPH FROM A ONEMINUTE FILM, IMAGE COURTESY OF THE ARTIST
Fabrik was able to delve a bit deeper into the impetus for realizing KNOWLEDGES, a site-specific experimental week-end long art event that will take place at Mount Wilson Observatory, Saturday June 23rd and Sunday June 24th, 2012. Fabrik: Can you share a bit about the process by which you and Elleni Sclavenitis arrived at perceiving a need for this particular type of project? Has anything similar been attempted before on the actual physical site of the Mount Wilson Observatory? Christina Ondrus (CO): I first visited Mount Wilson Observatory (MWO) in 2008, and immediately was captivated by the site. I was in grad school at the time (CalArts), and our class was searching for a venue for its culminating exhibition. I reached out to the Observatory, and was delighted by their initial support of a proposed exhibition. It ended up not working for that purpose, but opened the door. Then the 2009 Station Fire, the largest in Los Angeles’ history, threatened the Observatory and limited road access for nearly two years. Last summer, Elleni and I started working together to realize the show. The timing was just right—the Angeles Crest Highway was restored and the Observatory was ready to reach out to the surrounding community. This is the first event of its kind ever held at Mount Wilson. The idea for KNOWLEDGES emerged with the core question, what are the many forms of knowledge produced at a specific site? Elleni Sclavenitis (ES): Christina and I were friends and colleagues at CalArts. We graduated in 2009, in an economic climate that limited opportunities and funding for emerging artists. This freed us in a sense to think about how we could create our own opportunities. I loved Christina’s idea of putting together an exhibition at Mount Wilson, and we began talking about how to make it happen. Similarly to the art world, the science community has also faced restricted budgets in the last few years. Mount Wilson is currently in the midst of its own campaign to raise awareness of its unique historical status. Fabrik: This group art event aims to present contextual explorations of contemporary art and science. Can you speak more as to the formal parallels between these two disciplines, which some might even see as diametrically opposed? CO: The act of looking, observing is key to artistic and scientific practices. Both are creative, generative processes wherein we interact with the world. Much of the equip-
ment at MWO employs methods also used by artists—at the Solar Tower, daily sunspot drawings have been handmade for nearly one hundred years, direct photography through the 100-inch telescope captures nebula, galaxies and images too faint for our naked eye, which may be colored though an interpretive process. Not to mention the masterful craft and construction of the telescopes themselves, which are built for the ages. The interior of the 100-inch telescope evokes a modern-day Pantheon. But more than just formal parallels, the show opens conversations for local and cosmic explorations that extend from the nexus of the Observatory into our everyday lives. Fabrik: What can be gained, from your individual perspectives, through ‘envisioning the unseen’? CO: Everything! I think of the Einstein quote that imagination is more important than knowledge. to envision = infinity “Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.” ES: To me, “envisioning the unseen” is one way to define art-making: the artist renders the unseen visible, or articulates the unspoken. Fabrik: How specifically do you engage with ‘consciousness,’ and perhaps even its perception, in your particular practice(s)? CO: My art often explores gaps or slippage between the rational and irrational, two huge categories for describing experience. I am fascinated by questions of consciousness—how do we know what we know, where is consciousness located—as an action, a site or a moment? Language factors hugely into these questions—how do we communicate and translate experience? Essentially, these are questions of right vs. left-brain processing—the analytical vs. the phenomenological. I am interested in different vocabularies that describe similar experiences—intersections where science, philosophy, art and mysticism all strive to comprehend the shared magnitude of existence. ES: My recent web-based work, Industrial Los Angeles (http://industriallosangeles.org/), traces the marks of industry on the Southern California landscape. This project is about unearthing a hidden past, and interpreting our surroundings both perceptually, in the
present, and intellectually through their history. I’m interested in bringing to awareness an understanding of how and why the city appears as it does; in excavating its underlying strata to reveal the political, social and economic forces at work. Much of my art deals with understanding the present through the lens of the past. Fabrik: Are there any scientific discoveries made in the last 100 years that inform your own work(s)? CO: Generally speaking, scientific discoveries of the last century continue to rock our essential perception of reality, in ways in which I don’t think we are fully aware. The theory of relativity, for example, although accepted scientifically, has not fully permeated our shared cultural experience of time. We still adhere to a linear concept. Specifically, artistically: After my first visit to MWO, I was inspired by Michelson’s speed of light experiment, in which a spinning, eight-sided prism refracted a beam of light from Mt. Wilson to Lookout Mountain. I created a welded kinetic sculpture loosely based on this to evoke the speed of consciousness and states of visualization. I used the form of a dodecahedron, one of the Platonic solids, a shape the Ancient Greeks used to describe the shape of the universe, and my prism was a natural quartz crystal suspended at the center point as the sculpture rotates. ES: Los Angeles was the capital of the aerospace industry for most of the 20th century, with companies like Lockheed, Douglas and Hughes drawing people west to work in their massive plants. In many ways, aerospace made Southern California, but perhaps because its influence is so vast, its presence is often unseen. My project Industrial Los Angeles (http://industriallosangeles.org/) explores this hidden history. I’m interested in how the scientific innovations of Southern California have both expanded our understanding of the universe in profound ways, and built an industry that manufactures destruction. Fabrik: What parameters were helpful or necessary in determining how artists would be invited to participate in KNOWLEDGES? CO: Elleni and I both brought our perspectives to the curatorial process. As a starting point, we brainstormed a list of artists whose core practice revolved around ideas related to the Observatory including astronomy, physics, space exploration, etc. Then we expanded upon the myriad site-specific aspects of MWO and included the ecology of the Angeles National Forest, the history of the aerospace industry, the impact of
MWO’s founding on Los Angeles and the Hollywood history of stars. We wanted to initiate a dialog for artists who live and work in Los Angeles to connect with the site, while recognizing diverse artistic vocabularies. FABRIK: Can you whet our appetites with some of what might we expect to experience and see within the exhibitions, performances, film/video screenings and other forms of temporary art installations on the observatory grounds, as well as the performance-accompanied night viewing sessions through the Hale 60-inch telescope? CO: The artists’ projects are amazing, and many are new for this show! During the day, works will be on view throughout the grounds, including inside the Astronomical Museum with its backlit solar and galactic images, film screenings and lectures will take place in the beautiful, historic theatre, and some works will be installed outdoors at the many scenic vistas. There will be unexpected moments for viewers to encounter connections between art, science, history and site: sound installations by Viralnet, a new series of drawings by Russell Crotty, a lunar-like-surface painting by Jennifer Boysen, Marilyn Lowey's mysterious "Cosmic Latte" orb illuminating the forest, and Emilie Halpern's quiet meditation, "Moon Drift", just to name a few. The Night Viewing Program (Saturday) is truly unprecedented. Normally, only small groups who have reserved the telescope are allowed on the grounds after dark. (Due to safety concerns, admission will be limited*; check http://theknowledges.org for up-to-date schedule info) Inside the dome of the Hale 60-inch telescope, Katie Grinnan’s “Astrology Orchestra” will perform handmade natal-chart inspired instruments tuned to planetary spin frequencies, ambient sound project Sneaky Snake will set the mood for a galactic journey, while visitors gaze through the eye piece of the telescope at celestial objects throughout the night. Cloud Eye Control will perform a version of “Final Space,” a stunning multi-media work. James Benning’s “Night Fall”, a gorgeous 97minute film capturing the transition of light to dark in a California forest will be screened in the historic theatre. There also will be a series of lectures and much more. A full schedule of events will be posted on our website: http://theknowledges.org/ Fabrik: What, if anything, has been revealed about yourselves and/or the site of the Observatory through the process of producing KNOWLEDGES? CO: The wonder of MWO keeps unfolding each time I visit. It is a truly extraordiWeb fabrikmagazine.com
nary place. The magnitude of discoveries that took place there feels resonant throughout the site. You can touch the base where the first speed of light measurement took place, see the chair where Hubble sat and observed the expansion of the universe, which laid the ground for the Big Bang Theory, and walk the same footbridge as Albert Einstein. These human traces resonate with me and highlight our shared search for understanding our place in the universe. ES: Because of MWO’s isolation, the site has remained remarkably untouched over the years. It’s like a time capsule with artifacts of past discoveries and old avantguarde technologies; at the same time, the significance of the discoveries made there continue to resonate today. As we realize this project, the parallels between art-making and science become more apparent: both involve a quest to articulate the unseen and to understand human experience. Fabrik: Located in the Angeles National Forest, the Mount Wilson Observatory, noted for its ‘surprisingly constant atmospheric conditions,’ allows for magnificent views of Los Angeles and environs. What observations have emerged, for either of you, about the physical metropolis of Los Angeles, literally or symbolically? CO: Los Angeles is a huge metropolis, and often we are living in a haze—literally, with the marine layer or smog, and metaphorically in the blur of our daily routines. Visiting Mt. Wilson one mile above Los Angeles, offers a refreshed perspective on the city below through a connection to the natural ecology of the San Gabriel Mountains and Angeles National Forrest. ES: The city sits so quietly below, it invites contemplation. MWO is uniquely Southern Californian - a place where nature, science, history, capital and the visionary’s quest come together. It’s a nexus for the forces that formed Los Angeles and offers a vantage point from which to take in the past and the present, the universe above and the city below. Fabrik: How can interested Angelenos participate in helping to preserve and support Mount Wilson Institute, a world heritage site that is also a non-profit corporation that receives no federal or state support? What are your thoughts/feelings on why it is important and even essential to do so?
COSMIC LATTE, RGB OR CMYK? • MARILYN LOWEY, 2012 MIXED MEDIA SCULPTURE, IMAGE COURTESY OF AIRSTAR AMERICA
CO: For starters, go up and visit, take a tour, have lunch at the Cosmic Café…it’s a beautiful afternoon. Or get a group of 25 friends together and reserve the telescope for a night viewing session. You can become a Friend of Mount Wilson Observatory, too. Membership supports operating and maintenance costs, and contributions to their ‘Campaign for the 21st Century’, support plans to restore historic structures as well as to build a new visitor’s center. They also actively recruit docents. The threat of the Station Fire highlighted the fragility of the site, and how in a flash, a universe of history could be erased. Los Angeles has a precedent for bulldozing history in favor of strip malls, parking lots, and “progress” in general. (Actually, Norman Klein discusses these ideas in his book, “The History of Forgetting” and will lecture as part of the show.) For me, Mount Wilson is a safe haven, above the bustle of the city, where we can connect to nature and cosmos…the star stuff that we all are. For more information on KNOWLEDGES, please visit: http://theknowledges.org/ www.facebook.com/theknowledges Information about Mount Wilson Observatory: http://www.mtwilson.edu
An Exhibition in Paris? be-Art Prize did it!
A Great Award for LA’s Best Artist.
BE PART OF THIS AMAZING ADVENTURE WITH BE-ART PRIZE! Visit our website – launching July: www.beartprize.com PA R T N E R S & S P O N S O R S
HADIYA FINLEY SCULPTURE: ‘NESTING’
COMING OUT, GOING IN
ANOTHER YEAR IN LA Pacific Design Center, Suite B267, 8687 Melrose, West Hollywood WORDS PETER FRANK
COMING OUT: Sculpture (California) Another Year in LA could be called Los Angeles’ quintessential community gallery – community of artists, that is, open to the variety of artistic modes currently being practiced in the city. Well, make that the state; AYIL’s gallerists, Cathy and David Stone, who hail from Sacramento, have established active connections with fellow painters, sculptors, draughtspeople and conceptualists up and down California. Their group shows, in particular, manifest the spectacular variety of current artistic practice on the West Coast. To be sure, the Stones favor the eccentric – the eccentric use of materials, the eccentric combination of forms, the expression of eccentric ideas about the world. But in this, they mirror the attitudes that prevail, and have long prevailed, out here. Their survey of California sculpture, for instance, comprised only ten artists, but no two resembled each other remotely, save perhaps in spirit. The seemingly jerry-built structures of Coleen Sterritt, for instance, with their slyly comic references to the figure, are miles from Stephen Kaltenbach’s self-mocking time capsule (“open before my retrospective at MOCA in LA”), or the elegant double column Robin Hill constructed out of wax-cast old slide-projector carousels, or Nancy Evans’ funky, gritty votive statue of a mythic animal. There was no thematic rhyme or reason to “Sculpture (California)” beyond its title’s relaxed parameters, but the works talked to one another, some reserved and intellectual, some witty and articulate, some urgent and slightly abrasive in their eloquence; party organizers should be as deft as the Stones are at such curation. The other sculptors in the show were Tom Bills, YaYa Chou, Julia Couzens, Carlee Fernandez, Christopher Füllemann and Gerald Walburg.
GOING IN: Drawing (Los Angeles) (THROUGH JULY 27)
“Sculpture (California)” was the second in a triptych of small purviews, and in fact, the only one to go farther afield than LA itself. “Painting (Los Angeles)” preceded the sculpture show with canvases (and non-canvases) by Fumiko Amano, Katy Crowe, Linda Day, Samantha Fields, Linda King, Jacob Melchi, Gina Stepaniuk, and Jerrin Wagstaff (an effervescent assortment, as anyone who even knows half these talents will recognize). The current exhibition, “Drawing (Los Angeles),” challenges the definition of “drawing” with simi-
COMING OUT, GOING IN
lar blitheness. Its protagonists are fewer in number than before, and thus each artist is able to show a more extensive selection of work – and, for that matter, larger work. Here, the Stones seem to be making a concerted point: drawing is an intimate medium on any scale, so the bigger the better. Stas Orlovski’s enigmatic images certainly weave their magic writ large, while John Knuth and Christopher Russell both exploit the room given them to exercise a sensuous materiality and a serial explication of form. For her part, Alisa Yang conflates abstract texture with a finely-honed sense of image that borders knowingly on the cartoonish and the childlike, and Jackie Freedman pastiches idioms and materials with almost virtuosic bravado into basically but not securely abstract compositions. None of these expansive works on paper (or what passes for paper) has been ripped out of a notebook, but the casual assertiveness they all share, their clear connection to raw artistic impulse and the taking of risks, is exactly what we look for in drawing.
YAYA CHOU • REVOLVING CHATTER, 2009 - PRESENT. CALLIGRAPHY STUDIES, MIXED MEDIA INSTALLATION. PHOTO COURTESY OF ANOTHER YEAR IN LA
ART ABOUT TOWN WITH PETER FRANK
MUSEUM VIEWS UCLA HAMMER MUSEUM LOS ANGELES MUNICIPAL ART GALLERY LA><ART Made In L.A. SEPTEMBER 2 • (SPECIAL VENICE EDITION, JULY 13-15) For years, Los Angeles institutions have striven to compile “definitive” surveys of regional talent. The model for “definitive” has been the Whitney Museum’s national Biennial, the exhibition everyone loves to hate, so it’s probably not surprising that the surveys proffered in these parts, going back at least to LACMA’s Young Talent Awards in the late 1960s, have not really aspired – even on the local level – to the Whitney’s pretense at broad inclusiveness. “Made in L.A.,” however, organized by the UCLA Hammer Museum with LA><ART (mounted also at LAMAG in Barnsdall Art Park and, for one weekend, on the Venice Boardwalk), has upped the ante. “Made in L.A.” is no Whitney West (otherwise it would be as national as the Biennial itself). But in its size and breadth, “Made in L.A.” apes the Whitney’s own in its effort to prove the immensity of the Los Angeles art scene. In this, “Made in L.A.” succeeds admirably. Featuring the work of 60 artists and collaborative teams, the survey does have an omnibus feel – well, something of one. There are many credible and engaging trends in L.A. art not represented here, likely deemed by the organizers as not central to the current artistic discourse. This selective mainstreaming, of course, is one of the Whitney Biennial’s own most questionable (and no longer even that controversial) characteristics; it betrays the preferences of either the curators or the art market – or a combination of the two – and, fairly or not, makes the usual suspects seem that much more usual and the new faces that much more epigonal. It does work better (if still not great) in local play, perhaps because you can argue for the relative prominence of certain trends in a certain place the way you can’t throughout the whole of America. Still, the repetition in “Made in L.A.” of various modalities, no matter how significant – documentary video installation, for instance, or funky
ART ABOUT TOWN WITH PETER FRANK
abstract assemblage-sculpture, or performance notation – at the expense of equally vital forms being practiced locally (painting, especially figurative and geometric, gets noticeably short shrift – as it usually does in the Whitney) undermines the authority of “Made in L.A.” Ultimately, though, the show keeps the viewer more engaged than not. Given its regional handicap, “Made in L.A.” balances well-known and under-known, veteran and tyro, conventional and experimental, four-dimensional and three (if not quite sufficiently two), wise and daring, new-ish and seen-before in a relatively reasonable, and often-enough exciting, way – much as the Whitney’s own survey has at its best since becoming an all-media biennial forty-odd years ago. Most of those killer Biennials, heavily concentrated in the 1970s, resulted from its curators’ wide and deep exploration, their intellectual restlessness, their desire to see something new and contrast it with something accomplished. Although that sense of excitement and substance occurs only sporadically throughout “Made in L.A.” – to the detriment, inevitably, of some good artists who just don’t sparkle here as they have elsewhere – it occurs often enough to justify the existence of “Made in L.A.,” and justify your visit to its four venues. (Don’t forget: the fourth, on the Venice Boardwalk – a self-proclaimed homage to the, er, other Venice Biennale – is on view only July 13-15.) I write all this having visited the currently operating venues only at the time of their opening receptions; deadline prevented a more studied visit in a more timely fashion. But the crowds could not obscure most items from me, thanks not least to the show’s happily coherent installation. I’m mentioning no names here; many things recommended themselves, but not until I return for greater study will I be confident in passing along those individual recommendations. It’s the show itself, as an experience as well as a statement, I can recommend at this point. In concept “Made in L.A.” was worth a try. In reality, it could have been worse, and it’s at least as good as, if not better than, its most obvious models. But this is not to damn the show with faint praise; it’s to praise it
KATHRYN ANDREWS RAINBOW SUCCESSOR, 2011. STAINLESS STEEL, RENTED COSTUME. 73 X 51 X 48 IN. (185.4 X 129.5 X 121.9 CM). RINGIER COLLECTION, SWITZERLAND. COURTESY OF THE ARTIST AND DAVID KORDANSKY GALLERY, LOS ANGELES. PHOTOGRAPH BY BRIAN FORREST.
with reserve, and with respect it might well not have earned. It is a good first effort. More importantly, while an incomplete cross-section of what’s going on in and around town artistically, it provides a good taste of such. And enough of the work – the simple majority, perhaps, or certainly a respectable minority – is substantial enough to make “Made in L.A.” a gratifying visit just as an art show. In other words, the effort was worth it, and so is the admission price. For more information, please visit http://www.madeinla2012.org
ART GALLERIES & MUSEUMS 1301PE GALLERY 6150 Wilshire Blvd., #8 Los Angeles, CA 90048 (323) 938-5822 http://www.1301pe.com
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ANDREW SHIRE GALLERY 3850 Wilshire Blvd., #107 Los Angeles, CA 90010 (213) 389-2601 http://www.andrewshiregallery.com ANGELS GATE CULTURAL CENTER 3601 S. Gaffey St San Pedro, CA 90731 (310) 519-0936 http://angelsgateart.org Tues.-Sun., 11am-4pm ANGLES GALLERY 2222 & 2230 Main St. Santa Monica, CA 90405 (310) 396-5019 http://www.anglesgallery.com ANNIE WHARTON LOS ANGELES Pacific Design Center, Suite B275 8687 Melrose, West Hollywood 90069 (305) 905-9304 http://www.anniewhartonlosangeles.com ANN 330 GALLERY ART 170 Bldg. 170 South La Brea Los Angeles, 90036 http://www.ANN330Gallery.com (323) 954-9900 ARC 2529 W. Magnolia, Burbank, CA 91505 (818) 848-9998 http://www.czappa.com Tues.-Fri., 9am-5:30pm; Sat., 9am-3pm Twitter twitter.com/fabrikworld
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ART GALLERIES & MUSEUMS AUTRY NATIONAL CENTER: SOUTHWEST MUSEUM OF THE AMERICAN INDIAN Corner of Marmion Way and Museum Dr Los Angeles, CA 90065 (323) 221-2164 http://www.southwestmuseum.org AUTOMAT 936 Chung King Road (Chinatown) LA, CA 90012 (213) 617-0422 AVENUE 50 STUDIO 131 N. Avenue 50 Los Angeles, CA 90042 (323) 258-1435 http://www.avenue50studio.com BARNSDALL ART PARK EXHIBITIONS 4800 Hollywood Blvd Los Angeles, CA 90027 (323) 644-6275 Thurs.-Sun., 12-5pm; First Fridays, 12-9pm BILLY SHIRE FINE ARTS 5790 Washington Blvd Culver City, CA 90232 (323) 297-0600 www.billyshirefinearts.com BLEICHER/GOLIGHTLY GALLERY 1431 Ocean Avenue Santa Monica, CA 90401 310-237-6423 www.BGshowrom.com BLK/MRKT GALLERY 6009 Washington Blvd. Culver City, CA 90232 (310) 837-1989 http://www.blkmrktgallery.com Tues.-Fri., 11am-6pm; Sat., 12-6pm BLUE FIVE ART SPACE 2935 S. Sepulveda Blvd. Los Angeles, CA 90064 (310) 478-8500 http://bluefivedesign.com BLYTHE PROJECTS 5797 Washington Boulevard Culver City, CA 90232 310.990.3501 www.blytheprojects.net BLUEBIRD ART HOUSE 6747 Bright Ave Whittier, CA 90601 (562) 696-9493 http://www.bluebirdarthouse.com
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BLUM & POE GALLERY 2754 S. La Cienega Blvd Los Angeles, CA 90034 (310) 836-2062 http://www.blumandpoe.com BONELLI CONTEMPORARY 943 North Hill St. (Chinatown) Los Angeles, CA 90012 213-617-8180 www.bonellicontemporaryla.com BOWERS MUSEUM 2002 N. Main St Santa Ana, CA 92706 (714) 567-3643 http://www.bowers.org Tues.-Sun., 10am-4pm; fourth Thursday of each month, 10am-8pm BRAND LIBRARY ART GALLERY 1601 West Mountain St. Glendale, CA 91201 (818) 548-2051 http://www.brandlibrary.org Tues. & Thurs., 12-9pm; Weds., 10am6pm; Fri., Sat., 10am-5pm CACTUS GALLERY 4534 Eagle Rock Blvd. Eagle Rock, CA 90041 323-256-6117 http://www.eclecticcactus.com CAL POLY POMONA DOWNTOWN CENTER 300 W. Second St Pomona, CA 91766 (909) 469-0080 http://www.class.csupomona.edu/dow ntowncenter Tues.-Sat., 11am-8pm; 2nd Saturdays., 1-9pm CAL POLY POMONA KEITH & JANET KELLOGG 3801 W. Temple Ave Pomona, CA 91768 (909) 869-4302 http://www.csupomona.edu/~kellogg_gallery Tues.-Fri., 11am-4pm; Sat., 12-4pm CAL STATE L.A. – LUCKMAN GALLERY 5151 State University Dr Los Angeles, CA 90032 (323) 343-6604 http://www.luckmanfineartscomplex.org Mon.-Thurs., Sat., 12-5pm CALIFORNIA HERITAGE MUSEUM 2612 Main St. Santa Monica, CA 90405 (310) 392-8537 http://www.californiaheritagemuseum.org Weds.-Sun., 11am-4pm Web fabrikmagazine.com
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CITY OF BREA GALLERY #1 Civic Center Circle Brea, CA 92821 (714) 990-7730 http://www.breagallery.com Weds., Thurs., Sun., 12-5pm, Fri., Sat., 12-8pm CLAREMONT MUSEUM OF ART The Packing House, 536 W. First St. Claremont, CA 91711 (909) 621-3200 http://www.claremontmuseum.org Tues.-Sun., 11am-7pm CLASSIC ARTFORMS 9009 Beverly Blvd West Hollywood, CA 90069 (310) 273-6306 COLLEGE OF THE CANYONS ART GALLERY 26455 Rockwell Canyon Rd Santa Clarita, CA 91355 (661) 362-3612 http://www.canyons.edu/offices/artgallery Tues.-Thurs., 11am-3pm; Sat., 10am-2pm COPRO/NASON GALLERY 2525 Michingan Ave., T-5 Santa Monica, CA 90404 (310) 398-2643 www.copronason.com COREY HELFORD GALLERY 8522 Washington Blvd. Culver City, CA 90232 (310) 287-2340 http://www.coreyhelfordgallery.com Tues.-Sat., 12-6pm COTRUTZA GALLERY 446 S. Main St. Los Angeles, CA 90013 Tel: 213-622-0121 http://www.cotrutza.com
CRAFT AND FOLK ART MUSEUM 5814 Wilshire Blvd. Los Angeles, CA 90036 (323) 947 4230 http://www.cafam.org CRAIG GALLERY 5723 Venice Blvd Los Angeles, CA 90019 (323) 939-0351 http://www.craiggallery.com Fri., Sat., 12-6pm; & by app't. CRAIG KRULL GALLERY 2525 Michigan Ave., Building B-3 Santa Monica, CA 90404 (310) 828-6410 http:// www.artnet.com/ckrull.html Tues.-Fri., 10am-5:30pm; Sat., 11am-5:30pm CREWEST 110 Winston Street Los Angeles, CA 90013 213-627-8272 www.crewest.com CROSSROADS SCHOOL FOR ARTS AND SCIENCES 1714 21st St. Santa Monica, CA 90404 (310) 829-7391 Mon.-Fri., 1-3pm; & by app't. CSU CHANNEL ISLANDS ART GALLERY 92 Palm Dr. Camarillo, CA 93010 (805) 437-8863 http://art.csuci.edu/gallery Mon.-Fri., 10am-4pm CSU FULLERTON ART GALLERY 800 N. State College Blvd. Fullerton, CA 92634 (714) 278-3262 http://www.arts.fullerton.edu/events Tues.-Fri., 12-4pm; Sat., 12-2pm
CSU LONG BEACH UNIVERSITY ART MUSEUM 1250 Bellflower Blvd. Long Beach, CA 90840 (562) 985-5761 http://www.csulb.edu/uam Tues.-Sun., 12-5pm, Thurs., 12-8pm CSU NORTHRIDGE UNIVERSITY ART GALLERY 18111 Nordhoff St. Northridge, CA 91330 (818) 677-2156 http://www.csun.edu/artgalleries/ Mon.-Sat., 12-4pm; Thurs., 12-8pm D.E.N. CONTEMPORARY ART Pacific Design Center 8687 Melrose Avenue, #B275, 2nd Floor West Hollywood, CA 90069 323-422-6340 www.dencontemporaryart.com DA CENTER FOR THE ARTS 252 D S. Main St Pomona, CA 91766 (909) 397-9716 http://www.dacenter.org DANIEL SAXON GALLERY 552 Norwich Dr West Hollywood, CA 90069 (310) 657-6033 DANIEL WEINBERG GALLERY 6148 Wilshire Blvd. Los Angeles, CA 90048 (323) 954-8425 http://www.danielweinberggallery.com DRKRM/GALLERY 727 S. Spring Street Los Angeles, CA 90014 Hours: Wed.-Sun., 12-6 pm http://www.drkrm.com (323) 271-5635 DAVID GALLERY 5797 Washington Blvd. Culver City, CA 90232 323-939-9069 www.ddavidgallery.net DAVID KORDANSKY GALLERY 3143 S. La Cienega Blvd. Los Angeles, CA 90012 310-558-3030 http://www.davidkordanskygallery.com DAVID LAWRENCE GALLERY 8969 A Sunset Blvd. West Hollywood, CA 90069 310-278-0882 www.DavidLawrenceGallery.com
ART GALLERIES & MUSEUMS DAVID SALOW GALLERY 977 N. Hill St. Los Angeles, CA 90012 (213) 620-0240 http://www.davidsalowgallery.com Tues.-Sat., 11am-6pm DBA256 GALLERY 256 S. Main St Pomona, CA 91766 (909) 623-7600 http://www.dba256.com Mon.-Thurs., 8am-10pm; Fri., Sat., 10am-midnight DCA FINE ART 3107 Pico Blvd Santa Monica, CA 90405 (310) 770-2525 http://www.dcafineart.com By Appt. only DE SOTO GALLERY 2635 Fairfax Avenue Culver City, CA 90232 (323) 253-2255 http://www.desotogallery.com Wed.-Sat., 12-6pm & by app't DEL MANO GALLERY 11981 San Vicente Blvd West Los Angeles, CA 90049 (310) 476-8508 http://www.delmano.com Tues.-Sat., 10am-6pm; Sun., 12-5pm DENENBERG FINE ARTS 417 North San Vicente Blvd West Hollywood, CA 90048 (310) 360-9360 http://www.fada.com DIALECT 215 W. 6th St. #111 Downtown LA, CA 213-627-7599 email@example.com DNJ GALLERY Bergamot Station 2525 Michigan Avenue, Suite J1 Santa Monica, California 90404 (323) 931-1311 or (310) 315-3551 http://www.dnjgallery.net Tues.-Sat., 10am-6pm DOWNEY MUSEUM OF ART 10419 So. Rives Ave Downey, CA 90241 (562) 861-0419 http://www.thedmoa.org Weds., 3-7pm; Thurs.Fri., 1-5pm;
DOWNTOWN ART CENTER GALLERY 828 S Main Street Los Angeles, CA 90014 213-627-7374 http://www.dacgallery.com
EL NOPAL PRESS 109 W. 5th St. Downtown LA, CA 213-239-0417 EXPOSITION PARK MUSEUMS 900 Exposition Blvd Los Angeles, CA 90007 (213) 763-3515 http://www.nhm.org
DOWNTOWN ART GALLERY 1611 So. Hope St. Los Angeles, CA 90015 (213) 255-2067 http://www.downtownag.com Tues.-Sat., 11am-7pm DRKRM/ GALLERY Capitol Studios Building 2121 San Fernando Rd., #3 Los Angeles, CA 90065 (323) 223-6867 http://www.drkrm.com Tues.-Sat., 11am-5pm Sun., 1pm-4pm and by appointment DRKRM/ GALLERY WEST 729 Montana Ave. Santa Monica, CA 90403 323-271-5635 DUNCAN MILLER GALLERY 10959 Venice Blvd Los Angeles, CA 90034 (310) 838-2440 http://www.duncanmillergallery.com EARL MCGRATH GALLERY 454 N. Robertson Blvd. Los Angeles, CA 90048 (310) 657-4257 http://www.earlmcgrathgallery.com Tues- Sat. 10-6
FAHEY/KLEIN GALLERY 148 N. La Brea Ave. Los Angeles, CA 90036 (323) 934-2250 http://www.faheykleingallery.com Tues.-Sat., 10am-6pm FARMLAB 1745 N. Spring St. Los Angeles, CA 90012 (323) 226-1158 http://www.farmlab.org Tues.-Sat., 10am-5pm FELLOWS OF CONTEMPORARY ART 970 N. Broadway # 208 (Chinatown) LA, CA 90012 (213) 808-1008 www.focala.org FIFTH FLOOR GALLERY 502 Chung King Court (Chinatown) LA, CA 90012 (213) 687- 8443 www.fifthfloorgallery.com
EDGAR VARELA FINE ARTS (EVFA) 727 S. Spring Street, LA 90014
FIFTY/24 LA GALLERY 125 E. 6th St. Los Angeles, CA 213-623-4300 http://www.fifty24sf.com
EDGEMAR CENTER FOR THE ARTS 2437 Main St Santa Monica, CA 90405 (310) 399-3666 http://www.edgemarcenter.org Mon.-Fri., 11am-5:30pm
FIG 2525 Michigan Ave. # G6 Santa Monica, CA 90404 (310) 829-0345 http://www.figgallery.com Weds.-Sat., 11am-5pm
EDWARD CELLA ART + ARCHITECTURE 6018 Wilshire Blvd. Los Angeles, CA 90036 (323) 525-0053 http://www.edwardcella.com Tues.-Sun, 11am-5pm
FOUND GALLERY 1903 Hyperion Ave Los Angeles, CA 90027 www.foundla.com Sat - Sun 1-5 or by appt. firstname.lastname@example.org
EL CAMINO COLLEGE ART GALLERY 16007 Crenshaw Blvd Torrance, CA 90506 (310) 660-3010 http://www.elcamino.edu/commadv/art gallery Mon., Tues., 10am-3pm; Weds., Thurs., 10am-8pm; Fri., 10am-2pm
FOWLER MUSEUM AT UCLA 405 Hilgard Ave Los Angeles, CA 90024 (310) 825-4361 http://www.fowler.ucla.edu Weds.-Sun., 12-5pm; Thurs. 12-8pm
ART GALLERIES & MUSEUMS FRANK LLOYD GALLERY 2525 Michigan Ave., B5b Santa Monica, CA 90404 (310) 264-3866 http://www.franklloyd.com Tues.-Sat., 11am-6pm FRANK PICTURES GALLERY 2525 Michigan Ave., Building A-5 Santa Monica, CA 90404 (310) 828-0211 http://www.frankpicturesgallery.com FREDERICK R. WEISMAN MUSEUM AT PEPPERDINE UNIVERSITY 24255 Pacific Coast Highway Malibu, CA 90265 (310) 506-4851 http://arts.pepperdine.edu/museum FRESH PAINT 9355 Culver Blvd., Suite B Culver City, CA 90232 (310) 558-9355 http://www.freshpaintart.com Mon.-Thurs., 9am-6pm; Fri., 8am-12 noon; & by app't FULLERTON COLLEGE ART GALLERY 321 E. Chapman Ave., Building 1000 Fullerton, CA 92832 (714) 992-7434 http://art.fullcoll.edu Mon.-Thurs., Sat., 10am-2pm; Weds, 5-7pm FULLERTON MUSEUM CENTER 301 N. Pomona Ave Fullerton, CA 92832 (714) 738-6545 http://www.cityoffullerton.com/depts/ museum Tues.-Sun., 12-4; Thurs., 12-8pm
GALLERY 825 / LA ART ASSOCIATION 825 N. La Cienega Blvd. Los Angeles, CA 90069 310-652-8272 http://www.laaa.org GALLERY 1927 Fine Arts Building 811 West Seventh St. Los Angeles, CA 90017 661-816-1136 http://www.gallery1927.com/ GALERIE ANAIS 2525 Michigan Ave., Building D-2 Santa Monica, CA 90404 (310) 449-4433 www.galerieanaisla.com GALLERY BROWN 140 S. Orlando Ave. Los Angeles, CA 90036 323-651-1956 www,gallerybrown.com GALLERY AT 1000 VAN NESS SAN FRANCISCO GALLERY AT EASTERN COLUMBIA LOS ANGELES 849 S. Broadway Unit 905 Los Angeles, Ca. 90014 http://www.artmeetsarchitecture.com GALLERY AT REDCAT 631 W. Second St. Los Angeles, CA 90012 (213) 237-2800 http://www.redcat.org GALLERY LUISOTTI 2525 Michigan Ave., Building A-2 Santa Monica, CA 90404 (310) 453-0043
GAGOSIAN GALLERY 456 N. Camden Dr. Beverly Hills, CA 90210 (310) 271-9400 http://www.gagosian.com
GALLERY NUCLEUS 210 East Main St. Alhambra, CA 91801 (626) 458-7477 http://www.gallerynucleus.com
GALERIE MICHAEL 260 N. Rodeo Dr. Beverly Hills, CA 90210 (310) 273-3377 www.galeriemichael.com
GARY LEONARD TAKE MY PICTURE 860 S. Broadway Los Angeles, CA 90014 213-622-2256 http://takemypicture.com
GALLERY 9 6101 Washington Boulevard Culver City, CA 90232 310.836.4601 www.thegallery9.com
GEMINI G.E.L. 8365 Melrose Ave Los Angeles, CA 90069 (323) 651-0513 http://www.geminigel.com Mon.-Fri., 9am-5:30pm; Sat. by app't.
GEORGE BILLIS GALLERY L.A. 2716 S. La Cienega Blvd Los Angeles, CA 90034 (310) 838-3685 http://www.georgebillis.com Tues.-Sat., 11am-6pm; & by app't. GEORGE J. DOIZAKI GALLERY Japanese Cultural & Community Center 244 S. San Pedro St. Los Angeles, CA 90012 (213) 628-2725 http://www.jaccc.org Tues.-Fri., 12-5pm; Sat. & Sun., 11am-4pm GEORGE STERN FINE ARTS 8920 Melrose Ave. Los Angeles, CA 276-2600 http://www.sternfinearts.com Tues.-Fri., 10am-6pm; Sat., 11am-6pm GLORIA DELSON CONTEMPORARY ART 215 West 6th St. # 115 Los Angeles, CA 323-805-9363 www.artla.biz GLASS GARAGE FINE ART 414 N. Robertson Blvd. West Hollywood, CA 90048 (310) 659-5228 http://www.glassgaragegallery.com GLENDALE COLLEGE GALLERY 1500 Verdugo Rd Glendale, CA 91208 (818) 240-1000 http://www.glendale.edu/artgallery GP DEVA 9601 Wilshire Blvd., Suite 125 Beverly Hills, CA 90210 310-858-6545 www.gpdeva.com GRAMMY MUSEUM 800 W. Olympic Blvd. Los Angeles, CA 213-765-6800 www.grammymuseum.org GR2 2062 Sawtelle Blvd Los Angeles, CA 90025 (310) 445-9276 http://www.gr2.net GREENFIELD SACKS GALLERY 2525 Michigan Ave., #B6 Santa Monica, CA 90404 (310) 264-0640 http://www.greenfieldsacks.com
ART GALLERIES & MUSEUMS GREGG FLEISHMAN STUDIO 3850 Main Street Culver City, CA 90232 310.202.6108 www.greggfleishman.com
H. KAZAN FINE ARTS 11456 Washington Boulevard Los Angeles, CA 90066 310.398.0090 www.hkazanfinearts.com
GREY MCGEAR GALLERY Bergamot Station 2525 Michigan Ave G7 Santa Monica, CA 90404 (310) 315-0925
HONOR FRASER 2622 S. La Cienega Blvd Los Angeles, CA 90034 (310) 837-0191 http://www.honorfraser.com
GROUNDFLOOR GALLERY 433 Spring Street Los Angeles, CA 90013 213-624-3010
HUNTINGTON BEACH ART CENTER 538 Main Street Huntington Beach, CA 92647 (714) 374-1650 http://www.surfcityhb.org/Visitors/art_center Weds.-Sat., 12-6pm; Thurs., 12-8pm; Sun., 12-4pm
GUY HEPNER GALLERY 300 North Robertson Blvd. West Hollywood, CA 90048 310-979-0011 www.guyhepner.com HAMILTON GALLERIES 1431 Ocean Ave. Santa Monica, CA 90401 (310) 451-9983 http://www.hamiltongalleries.com Tues.-Sun., 12-7pm HAMILTON-SELWAY FINE ART 8678 Melrose Ave. Los Angeles, CA 90069 (310) 657-1711 http://www.hamiltonselway.com HARO GALLERY 3825 Main Street Culver City, CA 90232 310.558.4276 www.theharogallery.com HENKEN GALLERY Kyoto Grand Hotel 120 S. Los Angeles St. Los Angeles, CA 90012 (213) 626-2505 http://www.thehenkengallery.com Mon.-Fri., 10am-10pm; Sun. by app't. HERITAGE GALLERY 1300 Chautauqua Blvd Pacific Palisades, CA 90272 (310) 230-4340 http://www.heritagegallery.com HIGH PROFILE PRODUCTIONS 5886 Smiley Drive Culver City, CA 90232 310.253.2255 www.highprofileproductions.com
JAMES GRAY GALLERY Bergamot Station 2525 Michigan Ave., D-4 Santa Monica, CA 90404 (310) 315-9502 http://www.jamesgraygallery.com JAN KESNER GALLERY 164 N. La Brea Ave. Los Angeles, CA 90036 (323) 938-6834 http: //www.jankesnergallery.com By appt. only JANCAR GALLERY 961 Chung King Road Los Angeles, CA 90012 (213) 625-2522 http://www.jancargallery.com Wed.-Sat 12- 5pm and by app't.
HUNTINGTON LIBRARY 1151 Oxford Rd San Marino, CA 91108 (626) 405-2100 http://www.huntington.org
JAPANESE AMERICAN NATIONAL MUSEUM 369 E. 1st St Los Angeles, CA 90012 (213) 625-0414 http://www.janm.org
ICON GALLERY & INTERIORS 8899 Beverly Blvd. Los Angeles, CA 90048 310-246-1495 www.icon-interiors.com
JEFFREY WINTER FINE ARTS 8576 Melrose Ave. West Hollywood, CA 90069 310-657-4278 www,jeffreywinter.com
IKON LIMITED/K. RICHARDS GALLERY 2525 Michigan Ave., G-4 Santa Monica, CA 90404 (310) 828-6629 http://www.ikonltd.com
JK GALLERY 2632 S. La Cienega Blvd. Los Angeles, CA 90034 (310) 837-3330 http://www.jkgallery.net Tues.-Sat., 11am-5pm
IRON GALLERY 725 S. Los Angeles St. Los Angeles, CA 90014 213-627-7149 http://www.ironartgallery.net/ By appointment only
JONATHAN NOVAK CONTEMPORARY ART 1880 Century Park East # 100 Century City, CA 90067 310-277-4997 www.novakart.com
ITALIAN CULTURAL INSTITUTE SPAZIO ITALIA 1023 Hilgard Ave Los Angeles, CA 90024 (310) 443-3250 http://www.iiclosangeles.esteri.it/IIC_L osangeles Mon.-Fri., 9:30am-5pm JACK RUTBERG FINE ARTS 357 N. La Brea Ave. Los Angeles, CA 90036 (323) 938-5222 http://www.jackrutbergfinearts.com Tues.-Fri., 10am-6pm; Sat., 10am-5pm
KANTOR ART 427 N. Canon Drive Suite 106. Beverly Hills, CA 90210 (310) 274-6499 http://www.kantorart.com Mon-Fri 10-5 KINKEAD CONTEMPORARY 6029 Washington Blvd. Culver City, CA 90232 (310) 838-7400 http://www.kinkeadcontemporary.com KOPEIKIN GALLERY 8810 Melrose Avenue West Hollywood, CA 90069 (310) 385-5894 http://www.kopeikingallery.com Tues.-Sat., 11am-6pm; & by app't
ART GALLERIES & MUSEUMS KOPLIN DEL RIO GALLERY 6031 Washington Blvd. Culver City, CA 90232 (310) 836-9055 http://www.koplindelrio.com Tues.-Fri., 10am-5:30pm; Sat., 11am-5:30pm
LACE (LA CONTEMPORARY EXHIBITIONS) 6522 Hollywood Blvd. Los Angeles, CA 90028 (323) 957-1777 http://www.welcometolace.org Weds.-Sun., 12-6pm; Fri., 12-9pm
KRISTI ENGLE GALLERY 5002 York Blvd Los Angeles, CA 90042 323-472-6237 www.kristienglegallery.com
LACMA (LOS ANGELES CONTEMPORARY MUSEUM OF ART) 5905 Wilshire Blvd. Los Angeles, CA 90036 (323) 857-6111 http://www.lacma.org/ Mon., Tues., Thurs., 12-8pm; Fri., 129pm; Sat., Sun., 11am-8pm
L.A. ARTCORE UNION CENTER FOR THE ARTS 120 N. Judge John Aiso St. Los Angeles, CA 90012 (213) 617-3274 http://www.laartcore.org Weds.-Sun., 12-5pm
LATINO ART MUSEUM 281 S. Thomas St., Suite 105 Pomona, CA 91766 (909) 620-6009 http://www.lamoa.net
LA ART HOUSE 8825 Beverly Blvd., West Hollywood, CA 90048 (310) 205-0480 http://www.laarthouse.net Mon.-Fri., 10am-6pm; Sat.-Sun. by app't
THE LATINO MUSEUM OF HISTORY, ART & CULTURE 514 S. Spring St. Los Angeles, CA 90013 213-626-7600
LA CENTER FOR DIGITAL ART (LACDA) 102 West Fifth St. Los Angeles, CA 90013 213-629-1102 http://www.lacda.com
LATIN AMERICAN MASTERS 2525 Michigan Ave., Building E-2 Santa Monica, CA 90404 (310) 829-4455 http://www.latinamericamasters.com
LA CONTEMPORARY 2634 S. La Cienega Blvd. Los Angeles, CA 90034 (310) 559-6200 http://www.lacontemporary.com
LAXART 2640 S. La Cienega Culver City, CA 90232 (310) 559-0166 http://www.laxart.org
L.A. COUNTY ARBORETUM 301 N. Baldwin Ave Arcadia, CA 91007 (626) 821-3232 http://www.arboretum.org
LEBASSE PROJECTS 6023 Washington Blvd. Culver City, CA 90232 (310) 558-0200 http://www.lebasseprojects.com Weds.-Sat., 11am-6pm
L.A. LOUVER GALLERY 45 N. Venice Blvd. Venice, CA 90291 (310) 822-4955 http://www.lalouver.com Tues.-Sat., 10am-6pm L2 KONTEMPORARY 990 N. Hill St., #205 Los Angeles, CA 90012 (323) 225-1288 http://www.L2kontemporary.com Thurs.-Sun., 1-6pm; & by app't. LA LUZ DE JESUS 4633 Hollywood Blvd Los Angeles, CA 90027 (323) 666-7667 http://www.laluzdejesus.com 98
LEFT COAST GALLERIES 12324 Ventura Blvd Studio City, CA 91604 (818) 760-7010 http://www.leftcoastgalleries.com Mon.-Sat., 11am-6pm; Sun., 12-6pm; & by appointment LESLIE SACKS FINE ART 11640 San Vicente Blvd Los Angeles, CA 90049 (310) 820-9448 http://www.lesliesacks.com Mon.-Sat., 10am-6pm
LIGHTBOX GALLERY 2680 S. La Cienega Blvd Los Angeles, CA 90034 (310) 559-1111 http://www.kimlightgallery.com LILI BERNARD ART STUDIO 935 Chung King Road (Chinatown) LA, CA 90012 (323) 936-3607 www.lilibernard.com LM PROJECTS 125 W. 4th St., LA, CA 90014 213-621-4055 LOIS LAMBERT GALLERY OF FUNCTIONAL ART Bergamot Station 2525 Michigan Ave.,E-3 Santa Monica, CA 90404 (310) 829-6990 www.Galleryoffunctionalart.net LONG BEACH CITY COLLEGE ART GALLERY 4901 E. Carson St. Long Beach, CA 90808 (562) 938-4817 LONG BEACH MUSEUM OF ART 2300 E. Ocean Blvd. Long Beach, CA 90803 (562) 439-2119 http://www.lbma.org Tues.-Sun., 11am-5pm LORA SCHLESINGER GALLERY 2525 Michigan Ave., Building T-3 Santa Monica, CA 90404 (310) 828-1133 http://www.loraschlesinger.com Tues.-Sat., 10am-5:30pm LOS ANGELES CENTER FOR DIGITAL ART (LACDA) 107 W. Fifth St. Los Angeles, CA 90013 (323) 646-9427 http://www.lacda.com Weds.-Sat., 12-5pm LOUIS STERN FINE ARTS 9002 Melrose Ave. Los Angeles, CA 90069 (310) 276-0147 http://www.louissternfinearts.com Tues.-Fri., 10am-6pm; Sat., 11am-5pm LOUWE GALLERY 306 Hawthorne St. So. Pasadena, CA 91030 (626) 799-5551 http://www.louwegallery.com
ART GALLERIES & MUSEUMS LUIS DE JESUS LA Bergamot Station 2525 Michigan Ave. F-2 Santa Monica, CA 90404 (310) 453-7773 www.luisdejesus.com M. HANKS GALLERY 3008 Main St. Santa Monica, CA 90405 (310) 392-8820 http://mhanksgallery.com Weds.-Sat., 12-6pm; & by app't. M+B GALLERY 612 N. Almont Dr. West Hollywood, CA 90069 (310) 550-0050 http://www.mbfala.com MACHINE PROJECT 1200 D North Alvarado St. Los Angeles, CA 90026 (213) 483-8761 http://www.machineproject.com Irregular hours - call ahead MADISON GALLERY 1020 Prospect Suite 130 LaJolla, California 92037 (858) 459-0836 http://www.madisongalleries.com MAK CENTER FOR ART AND ARCHITECTURE L.A. 835 N. Kings Rd. Los Angeles, CA 90069 (323) 651-1510 http://www.makcenter.org Weds.-Sun., 11am-6pm MARK MOORE GALLERY Bergamot Station 2525 Michigan Ave. #A1 SM,CA 90404 310-453-3031 www.MarkMooreGallery.com MANNY SILVERMAN GALLERY 619 Almont Dr. West Hollywood, CA 90069 (310) 659-8256 www.mannysilvermangallery.com MARCEL SITCOSKE GALLERY 7829 Torreyson Dr. LA, CA 90046 323-650-0238 www.marcelsitcoske.com MARC FOXX GALLERY 6150 Wilshire Blvd Los Angeles, CA 90048 (323) 857-5571 http://www.marcfoxx.com
MARC SELWYN FINE ART 6222 Wilshire Blvd Los Angeles, CA 90048 (323) 933-9911 http://www.marcselwynfineart.com
MICHAEL KOHN GALLERY 8071 Beverly Blvd Los Angeles, CA 90048 (323) 658-8088 http://www.kohngallery.com
MARINE CONTEMPORARY 1733-A Abbot Kinney Blvd Venice, CA 90291 T: (310) 399-0294 http://www.marinecontemporary.com
MIHAI NICODIM GALLERY 3143 S. La Cienega Blvd. Unit B Los Angekes, VCA 90016 310-838-8884 www.nicodimgallery.com
MARK MOORE GALLERY 5790 Washington Blvd. Culver City, CA 90232 310-453-3031 http://www.markmooregallery.com
MIXOGRAFIA 1419 E. Adams Blvd Los Angeles, CA 90011 (323) 232-1158 http://www.mixografia.com Mon.-Fri., 11am- 5pm; & by app't.
CHRISTOPHER MARTIN GALLERY 302 N. Robertson Blvd. West Hollywood, CA www.martinlozano.com 310-358-0617 MARTIN LAWRENCE GALLERY 1000 Universal Studios Blvd. #171 Burbank, CA 91608 818-508-7867 www.martinlawrence.com
MOCA - THE GEFFEN CONTEMPORARY 152 North Central Ave. Los Angeles, CA 90013 (213) 621-1745 http://www.moca.org/ Mon., Fri., 11am-5pm; Thurs., 11am8pm; Sat., Sun., 11am-6pm; Closed Tues.-Wed.
MATIN GALLERY 9905 South Santa Monica Blvd. LA, CA 90212 310-788-0055 www.matin-gallery.com MERRY KARNOWSKY GALLERY 170 S. LA Brea LA, CA 90036 323-933-4408 www.mkgallery.com
MOCA PACIFIC DESIGN CENTER 8687 Melrose Ave. West Hollywood, CA 90069 (310) 289-5223 http://www.moca.org
MESLER & HUG GALLERY 510 Bernard St. (Chinatown) LA, CA 90012 (3232) 221-0016 www.meslerandhug.com MICHAEL DAWSON GALLERY 535 N. Larchmont Blvd Los Angeles, CA 90004 (323) 469-2186 http://www.michaeldawsongallery.com Weds.-Sat., 9am-5pm MICHAEL HITTLEMAN GALLERY FINE ISRAELI ART 8797 Beverly Blvd., #302 Los Angeles, CA 90048 (323) 655-5364 http://www.michaelhittlemangallery.com Mon.-Fri., 11am-5pm; Sunday, 1-5pm
MOCA (MUSEUM OF CONTEMPORARY ART) 250 S. Grand Ave. Los Angeles, CA 90012 (213) 62-MOCA-2 http://www.moca.org/ Mon., Fri., 11am-5pm; Thursday, 11am-8pm; Sat., Sun., 11am-6pm; Closed Tues.-Wed.
MORONO KIANG GALLERY 218 W. 3rd St. Los Angeles, CA 90013 (213) 628-8208 http://www.moronokiang.com Weds.-Sat., 12-6pm MOUNT ST. MARY'S COLLEGE JOSE DRUDIS-BIADA GALLERY 12001 Chalon Rd. Los Angeles, CA 90049 (310) 954-4360 http://www.msmc.la.edu/pages/1897.asp Tues.-Sat., 12-5pm MUCKENTHALER CULTURAL CENTER 1201 W. Malvern Ave Fullerton, CA 92633 (714) 738-6595 http://www.muckenthaler.org
ART GALLERIES & MUSEUMS MUSEUM OF JURASSIC TECHNOLOGY 9341 Venice Blvd. Los Angeles, CA 90034 (310) 836-6131 http://www.mjt.org MUSEUM OF LATIN AMERICAN ART 628 Alamitos Ave Long Beach, CA 90802 (562) 437-1689 http://www.molaa.com Tues.-Sat., 11:30am-7:30pm; Sun., 12-6pm MUSEUM OF NEON ART 114 W. 4th St. Downtown LA, CA 213-489-9918 http://www.neonmona.org/ MUSEUM OF PHOTOGRAPHIC ARTS 1649 El Prado San Diego, CA 92101 (619) 238-7559 http://www.mopa.org Tues.-Sun., 10am-5pm; Thurs. 10am-9pm MUSEUM OF TOLERANCE 9786 W. Pico Blvd. Los Angeles, CA 90035 (310) 553-8403 http://www.museumoftolerance.com NEUARTIG GALLERY & ART CONSULTING 366 West 7th Street San Pedro, CA 90731 (213) 973-8223 http:www.galleryneuartig.com Wed – Fri 1:00 p.m. to 7:00 p.m. Sat 1:00 p.m. to 4:00 p.m. and by appointment 1st Thursday artwalk: 6pm - 9pm NEW HIGH (M)ART 741 New High Str. LA, CA 90012 213-621-7822 www.newhighmart.com NORBERTELLEN GALLERY 215 West 6th St. Los Angeles, CA 90014 818-662-5041 http://www.norbertellengallery.com NORTH HILL EXHIBITIONS 945 North Hill St. (Chinatown) Los Angeles, CA 90012 213-626-2020 www.northhillexhibitions.com
NORTON SIMON MUSEUM 411 W. Colorado Blvd. Pasadena, CA 91105 (626) 449-6840 http://www.nortonsimon.org Weds.-Mon., 12-6pm; Fri., 12-9pm
PALOS VERDES ART CENTER 5504 W. Crestridge Rd. Rancho Palos Verdes, CA 90275 (310) 541-2479 http://www.pvartcenter.org Mon.-Sat., 10am-4pm; Sun., 1-4pm
OFF-ROSE, THE SECRET GALLERY 841 Flower Ave. Venice, CA 90291 (310) 664-8977 Sat., 1-5pm; & by appt.
PARKER JONES GALLERY 510 Bernard St. (Chinatown) LA, CA 90012 (213) 227-0102 www.parkerjonesgallery.com
OPTICAL ALLUSION GALLERY 2414 West 7th St. Los Angeles, CA 90057 (310) 309-7473
PAPILLON GALLERY 8272 Melrose Ave. Los Angeles, CA 90046 323-655-2205 http://www.papillongallery.com
ORANGE COUNTY CENTER FOR CONTEMPORARY ART 117 N. Sycamore Santa Ana, CA 92701 (714) 667-1517 http://www.occca.org Thurs.-Sun., 12-5pm; Fri., Sat., 12-9pm ORLANDO GALLERY 17037 Ventura Blvd. Tarzana, CA 91356 (818) 705-5368 www.orlando2.com OTIS COLLEGE OF ART AND DESIGN BEN MALTZ GALLERY 9045 Lincoln Blvd. Los Angeles, CA 90045 (310) 665-6905 http://www.otis.edu Tues.-Sat., 10am-5pm; Thurs., 10am-7pm OVERDUIN AND KITE 6693 Sunset Blvd. Los Angeles, CA 90020 (323) 464-3600 http://www.overduinandkite.com PACIFIC ASIA MUSEUM 46 N. Los Robles Ave Pasadena, CA 91101 (626) 449-2742 http://www.pacificasiamuseum.org Weds.-Sun., 10am-6pm PALM SPRINGS ART MUSEUM 101 Museum Dr Palm Springs, CA 92262 (619) 325-7186 http://www.psmuseum.org Tues.-Sun., 10am-5pm; Fri., 10am-8pm
PASADENA CITY COLLEGE ART GALLERY 1570 E. Colorado Blvd Pasadena, CA 91106 (626) 585-3285 http://www.pasadena.edu/artgallery Mon.-Thurs., 12-8pm; Fri., Sat., 12-4pm PASADENA MUSEUM OF CALIFORNIA ART 490 E. Union St. Pasadena, CA 91101 (626) 568-3665 http://www.pmcaonline.org PATRICK PAINTER, INC. 2525 Michigan Ave. # A-8 & B-2 Santa Monica, CA 90404 (310) 254-6953 http://www.patrickpainter.com PEACE YOGA GALLERY 903 South Main St. Los Angeles, CA 90015 213-500-5007 www.peaceyogagallery.com PERES PROJECTS 2766 La Cienega Blvd. Los Angeles, CA 90034 (310) 559-6100 http://www.peresprojects.com PETER FETTERMAN GALLERY 2525 Michigan Ave., Building A-7 Santa Monica, CA 90404 (310) 453-6463 http://www.peterfetterman.com PETER MENDENHALL GALLERY 6150 Wilshire Blvd. # 8 Los Angeles, CA 90048 323-936-0061 www.PeterMendenhallGallery.com
ART GALLERIES & MUSEUMS PHOTO-EYE GALLERY 376-A Garcia Street Santa Fe NM 87505 Tel/Fax: (505) 988-5152, x116 http://www.photoeye.com PITZER CAMPUS GALLERIES 1050 North Mills Ave. Claremont, CA 91711 (909) 607-3143 http://www.pitzer.edu/artgalleries PLAZA DE LA RAZA 3540 N. Mission Rd. Los Angeles, CA 90031 (323) 223-2475 POMONA COLLEGE MUSEUM OF ART 330 N. College Ave. Claremont, CA 91711 (909) 621-8283 http://www.pomona.edu/museum Tues.-Fri., 12-5pm; Sat., Sun., 1-5pm POV EVOLVING GALLERY & PRINT STUDIO 939 Chung King Road LA, CA 90012 (213) 594-3036 www.povevolving.com PYO GALLERY LA 1100 Hope St., Suite 105 Los Angeles, CA 213-405-1488 http://www.pyogalleryla.com RAID PROJECTS GALLERY The Brewery Art Complex 602 Moulton St. Los Angeles, CA 90031 (323) 441-9593 http://www.raidprojects.com Sat., Sun., 12-5pm; & by app't. REBECCA MOLAYEM GALLERY 306 N. Robertson West Hollywood, CA90048 310-652-2620 www.rebeccamolayemarts.com REDLING FINE ART 990 North Hill St. #210 (Chinatown) Los Angeles, CA 90012 323-230-7415 www.redlingfineart.com REGEN PROJECTS 633 N. Almont Drive Los Angeles, CA 90069 (310) 276-5424 http://www.regenprojects.com
REGEN PROJECTS II 9016 Santa Monica Blvd (at Almont Drive) Los Angeles, CA 90069 (310) 276-5424 http://www.regenprojects.com
ROUGE GALERIE 548 S. Spring St. Los Angeles, CA 90013 213-489-7309 www.rougegalerie.com
RICHARD HELLER GALLERY 2525 Michigan Ave., Building B-5A Santa Monica, CA 90404 (310) 453-9191 http://www.richardhellergallery.com
ROYAL/T 8910 Washington Boulevard Culver City, CA 90232 310.559.6300 www.royal-t.org RUTH BACHOFNER GALLERY 2525 Michigan Ave. (Bergamot Station), G-2 Santa Monica, CA 90404 (310) 829-3300 http://www.ruthbachofnergallery.com Tues.-Sat., 10am-6pm
RICHARD TELLES FINE ART 7380 Beverly Blvd Los Angeles, CA 90036 (323) 965-5578 http://www.tellesfineart.com RIO HONDO COLLEGE ART GALLERY 3600 Workman Mill Rd., B-13 Whittier, CA 90601 (562) 908-3471 Mon.-Thurs., 9am-3pm; Mon.-Weds., 6-9pm RIVERA & RIVERA 454 N. Robertson West Hollywood, CA 90069 310.713.1635 http://www.riveraandrivera.com
SABINA LEE GALLERY 971 Chung King Road LA, CA 90012 213-620-9404 www.sabinaleegallery.com SAM LEE GALLERY 990 N. Hill St., #190 Los Angeles, CA 90012 (323) 227-0275 http://www.samleegallery.com Wed. - Sun, 12-6pm
RIVERSIDE ART MUSEUM 3425 Mission Inn Ave. Riverside, CA 92501 (951) 684-7111 http://www.riversideartmuseum.org Mon.-Sat., 10am-4pm; Thurs., 10am-9pm
SAM LEE GALLERY @ the Pacific Design Center 8687 Melrose Avenue, Suite B267 W. Hollywood, CA 90069 323-788-3535 www.samleegallery.com Monday - Friday, 12 - 5 pm & by appâ€™t
ROBERT BERMAN GALLERY 2525 Michigan Ave., D-5, & C-2 Santa Monica, CA 90404 (310) 315-1937 http://www.robertbermangallery.com Tues.-Sat., 11am-6pm
SAMUEL FREEMAN GALLERY 2525 Michigan Ave., Building B-7 Santa Monica, CA 90404 (310) 449-1479 http://www.samuelfreeman.com
ROBERTS & TILTON GALLERY 5801 Washington Blvd. Culver City, CA 90232 (323) 549-0223 http://www.robertsandtilton.com
SANDRONI REY GALLERY 2762 S. La Cienega Blvd Los Angeles, CA 90034 (310) 280-0111 http://www.sandronirey.com
ROSAMUND FELSEN GALLERY 2525 Michigan Ave. B-4 Santa Monica, CA 90404 (310) 828-8488 http://www.rosamundfelsen.com Tues.-Sat., 10am-5:30pm
SANTA FE ART COLONY 2401 S. Santa Fe Ave Los Angeles, CA 90058 (213) 587-6381
ROSE GALLERY 2525 Michigan Ave., Building G-5 Santa Monica, CA 90404 (310) 264-8440 http://www.rosegallery.net Web fabrikmagazine.com
SANTA MONICA ART STUDIOS AND ARENA 1 GALLERY 3026 Airport Ave Santa Monica, CA 90405 (310) 397-7449 http://www.santamonicaartstudios.com Tues.-Sat., 12-6pm
ART GALLERIES & MUSEUMS SANTA MONICA COLLEGE - PETE & SUSAN BARRETT ART GALLERY 1310 11th St. Santa Monica, CA 90401 (310) 434-3434 http://events.smc.edu/art_gallery.html SANTA MONICA MUSEUM OF ART Bergamot Station 2525 Michigan Ave. G-1 Santa Monica, CA 90403 (310) 586-6488 http://www.smmoa.org Tues.-Sat., 11am-6pm SARAH LEE ARTWORKS & PROJECTS Bergamot Station 2525Michigan Ave. Santa Monica, CA 90404 (310) 829-4938 www.sarahleeartworks.com SCA PROJECT GALLERY 101 & 281 So. Thomas St., Unit 104 Pomona, CA 91766 (909) 620-5481 http://www.scagallery.com Thurs.-Sat., 12-4pm SCHOMBURG GALLERY 2525 Michigan Ave. E-3a Santa Monica, CA 90404 (310) 453-5757 http://www.schomburggallery.com SCI-ARC GALLERY 960 E. Third St Los Angeles, CA 90013 (213) 473-8432 SCION INSTALLATION L.A. 3521 Helms Ave [at National] Culver City, CA 90232 310.815.8840 www.scion.com/space SEA AND SPACE EXPLORATIONS 4755 York Blvd. Los Angeles, CA 90042 (323) 445-4015 http://www.seaandspace.org Sundays 1-5 or by appt. email@example.com SEE LINE GALLERY Pacific Design Center 8687 Melrose Avenue Suite B274 West Hollywood, CA 90069 818-604-3114 http://www.seelinegallery.com
SEYHOUN GALLERY 9007 Melrose Ave. West Hollywood, CA 90069 (310) 858-5984 http://www.seyhoungallery.com SHERRY FRUMKIN GALLERY 3026 Airport Ave., Suite 21 Santa Monica, CA 90405 (310) 397-7493 http://www.frumkingallery.com Weds.-Sat., 12-6pm SHOSHANA WAYNE GALLERY 2525 Michigan Ave., Building B-1 Santa Monica, CA 90404 (310) 453-7535 http://www.shoshanawayne.com SISTER 955 Chung King Road LA, CA 90012 (213) 628-7000 http://www.sisterla.com SKIDMORE CONTEMPORARY ART Bergamot Station 2525 Michigan Ave. B5 Santa Monica, CA (310)-828-5070 www.skidmorecontemporaryart.com SKIRBALL CULTURAL CENTER 2701 N. Sepulveda Blvd Los Angeles, CA 90049 (310) 440-4500 http://www.skirball.org Tues.-Fri.12-5pm; Thurs.12-9pm; Sat.& Sun. 10am-5pm GALLERY SOHO 300 A. South Thomas St Pomona, CA 91766 (909) 469-1599 www.pvaa.net Thurs.-Sun., 11am-4pm; second Sats., 11am-10pm SOLWAY JONES 990 N. Hill Street # 180 Los Angeles, CA 90012 (323) 223-0224 http://www.solwayjonesgallery.com Tues.-Sat., 11am-6pm SPF:A GALLERY 8609 Washington Boulevard Culver City, CA 90232 310.558.0902 www.spfagallery.com
SPARC ART GALLERY 685 Venice Blvd. Venice, CA 90291 (310) 822-9560 http://www.sparcmurals.org Mon.-Fri., 10am-6pm (Closed at Noon-1pm) SPENCER JON HELFEN FINE ARTS 9200 West Olympic Blvd. Ste 200, Los Angeles, CA 310-273-8838 www.helfenfinearts.com STEPHEN COHEN GALLERY 7358 Beverly Blvd Los Angeles, CA 90036 (323) 937-5525 http://www.stephencohengallery.com Tues.-Sat., 11am-5pm STG (STEVE TURNER CONTEMPORARY) 6026 Wilshire Blvd. Los Angeles, CA 90036 (323) 931-3721 http://www.steveturnergallery.com SUMI INK CLUB 970 N. Broadway #212 (Chinatown) LA, CA 90012 www.sumiinkclub.com SUSANNE VIELMETTER LOS ANGELES PROJECTS 6006 W. Washington Blvd Culver City, CA 90232 310-837-2117 www.vielmetter.com SYLVIA WHITE GALLERY 1783 East Main Street Ventura, CA 93001 805-643-8300 http://www.artadvice.com TAG, THE ARTISTS' GALLERY 2525 Michigan Ave., #D-3 Santa Monica, CA 90404 (310) 829-9556 http://www.TAGgallery.net Tues.-Sat., 11am-5pm TAKE MY PICTURE GARY LEONARD 860 S. Broadway @ 9th Los Angeles, CA 90014 213-622-2256 http://takemypicture.com TASENDE GALLERY 820 Prospect St. La Jolla, CA 92037 (858) 454-3691 www.tasendegallery.com Tues.-Fri., 10am-6pm; Sat., 11am-5pm;
ART GALLERIES & MUSEUMS TAYLOR DE CORDOBA 2660 S. La Cienega Blvd Los Angeles, CA 90034 (310) 559-9156 http://www.taylordecordoba.com TELIC ARTS EXCHANGE 972B Chung King Road LA, CA 90012 213-344-6137 ww.telic.info TEMPLE OF VISIONS 719 S. Spring St. Los Angeles CA 213-537-0139 http://templeofvisions.com TERRENCE ROGERS FINE ART 1231 Fifth St. Santa Monica, CA 90401 (310) 394-4999 http://www.trogart.com Thurs-Sat., 12-5; & by app't. TERRELL MOORE GALLERY 1221 S Hope Street LA CA 90015 (213) 744-1999 www.terrellmoore.net THE ART FORM STUDIO 716 North Figueroa St. (Chinatown) LA, CA 90012 213-613-1050 www.theartformstudio.com THE BREWERY ARTS COLONY 2100 N. Main St. at Avenue 21 Los Angeles, CA 90031 http://www.breweryart.com THE BOX 977 Chung King Road (Chinatown) LA, CA 90012 (213) 625-1747 www.theboxla.com THE CLAYHOUSE 2909 Santa Monica Blvd. (near Yale St.) Santa Monica, CA 90404 (310) 828-7071 THE COMPANY 946 Yale Street (Chinatown) LA, CA 90012 213-221-7082 THE FOLK TREE 217 S. Fair Oaks Ave Pasadena, CA 91105 (626) 795-8733 http://www.folktree.com Mon.-Weds., 11am-6pm; Thurs.-Sat., 10am-6pm; Sun., 12-5pm
THE GETTY CENTER 1200 Getty Center Dr Los Angeles, CA 90049 (310) 440-7300 http://www.getty.edu Tues.-Thurs., Sun., 10am-6pm; Fri., Sat., 10am-9pm 213-955-9091
TOBEY C. MOSS GALLERY 7321 Beverly Blvd Los Angeles, CA 90036 (323) 933-5523 http://www.tobeycmossgallery.com
THE GETTY VILLA 17985 Pacific Coast Highway Pacific Palisades, CA 90272 (310) 440-7300 http://www.getty.edu Thurs.-Mon., 10am-5pm; closed Tues. Weds. and major holidays THE HAMMER MUSUEM AT UCLA 10899 Wilshire Blvd. LA, CA 90024 310-443-7000 www.hammer.ucla.edu THE HAPPY LION 963 Chung King Road (Chinatown) LA, CA 90012 (213) 625-1360 www.thehappylion.com
THE LOFT AT LIZ'S 453 S. La Brea Ave. (Enter through back alley) Los Angeles, CA 90036 323-939-4403 www.theloftatlizs.com
TRACK 16 GALLERY 2525 Michigan Ave., Building C-1 Santa Monica, CA 90404 (310) 264-4678 http://www.track16.com Tues.-Sat., 11am-6pm
TRIGG ISON FINE ART 511 N. Robertson Blvd Los Angeles, CA 90069 (310) 274-8047 http://www.triggison.com
THE PERFECT EXPOSURE GALLERY 3519 West 6th St. Los Angeles, CA 90020 (213) 381-1137 http://theperfectexposuregallery.com
TROPICO DE NOPAL GALLERY 1665 Beverly Blvd. Los Angeles, CA 90026 (213) 481-8112 http://www.tropicodenopal.com UCR/CALIFORNIA MUSEUM OF PHOTOGRAPHY 3824 Main St Riverside, CA 92501 (951) 784-FOTO http://www.cmp.ucr.edu Tues.-Sat., 12-5pm
THINKSPACE ART GALLERY 6009 Washington Blvd. Culver City, CA 90232 310.558.3375 www.thinkspacegallery.com Thurs.-Sun., 1-6pm THOMAS SOLOMON GALLERY 410 Cottage Home St. (Chinatown) LA, CA 90012 310-428-2964 www.thomassolomongallery.com
TORRANCE ART MUSEUM 3320 Civic Center Dr Torrance, CA 90503 (310) 618-6340 http://www.torranceartmuseum.com Tues.-Sat., 12-6pm
TRACY PARK GALLERY The Malibu Country Mart 3835 Cross Creek Road Malibu, CA 90265 310-456-7505 http://www.tracyparkgallery.com
THE HIVE GALLERY 729 S. Sping St. Los Angeles, CA 90014 (213) 955-9051 http://hivegallery.com
TINLARK GALLERY 6671 Sunset Blvd., #1516 Hollywood, CA 90028 (323) 463-0039 http://www.tinlark.com
TOPANGA CANYON GALLERY 120 N. Topanga Canyon Blvd., Suite 109 Topanga, CA 90290 (310) 455-7909 http://www.topangacanyongallery.com Tues.-Sun., 10am-6pm
USC FISHER GALLERY 823 Exposition Blvd Los Angeles, CA 90089 (213) 740-4561 http://fishergallery.org Tues.-Sat. 12-5pm
ART GALLERIES & MUSEUMS VINCENT PRICE ART MUSEUM EAST LOS ANGELES COLLEGE 1301 Avenida Cesar Chavez Monterey Park, CA 91754 (323) 265-8841 http://elac.edu/collegeservices/ vincentprice/ Mon.-Weds., Sat., 12-4pm; Thurs., 12-7pm VIVA (VALLEY INSTITUTE OF VISUAL ART) 13261 Moorpark St., Sherman Oaks, CA 91423 (818) 385-0080 Weds.-Fri., 11am-4pm; Satu., 12-4pm VOILA! ART FOR THE MODERN EYE 518 N. La Brea Ave. Los Angeles, CA 90036 323-954-0418 www.voilagallery.com WAL ART 1639 S. La Cienega Los Angeles, CA 90035 310-274-9055 www.walartinc.com WALTER MACIEL GALLERY 2642 S. La Cienega Blvd. LA, CA 90034 310-839-1840 www.waltermacielgallery.com
WATTS TOWERS ART CENTER NOAH SYLVESTER PURIFOY GALLERY 1727 E. 107th St Los Angeles, CA 90002 (213) 847-4646 Weds.-Sun., 10am-4pm
WILLIAM TURNER GALLERY 2525 Michigan Ave. E-1 Santa Monica, CA 90404 (310) 453-0909 http://www.williamturnergallery.com Mon.-Sat.,11am-6pm
WESTERN PROJECT 2762 S. La Cienega Los Angeles, CA 90034 (310) 838-0609 http://western-project.com
WONDERLAND GALLERY 1257 North La Brea Ave West Hollywood, CA 90038 323-645-6920 WONDERFUL WORLD ART GALLERY 9517 Culver Boulevard Culver City, CA 90232 310.836.4992 www.wwagallery.com
WHITTIER MUSEUM 6755 Newlin Ave Whittier, CA 90601 (310) 945-3871 WILIAM GRIFFIN GALLERY 2902 Nebraska Ave Santa Monica, CA 90404 (310) 586-6886 http://www.griffinla.com Tues.-Sat., 10am-6pm; & by app't.
XIEM CLAY CENTER AND GALLERY 1563 N. Lake Ave. Pasadena, CA 91104 (626) 794-5833 http://www.xiemclaycenter.com YOUNG ART GALLERY The Women's building 1727 North Spring St. Los Angeles, CA 90012 (323) 226-1230 http://www.youngartgallery.com By appt. only
WILLIAM A. KARGES FINE ART 427 Canon Dr., Suite 101 Beverly Hills, CA 90210 (310) 276-8551 http://www.kargesfineart.com Mon.-Sat., 10am-5pm
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Celebrating designers and architects, Issue 17 of Fabrik profiles architects Jenny Wu and Dwayne Oyler and their Oyler Wu Collaborative, des...