Channa Horwitz

To the Top

February 13 – March 26

 

Haroon Mirza

A Chamber for Horwitz: Sonakinatography Transcriptions in Surround Sound

January 28 – March 26

 

Opening Reception February 13th, 7 – 10pm

 

 

Mitchell Syrop

Niza Guy


Opening November 14, 7pm to 10pm

November 14, 2015 – January 30, 2016

 

 

Press Release

 

 

 

Dan Bayles

The Apotheosis of Washington


Opening September 12, 7pm to 10pm

September 12 – October 31 2015

 

 

Press Release

 

 

 

Candice Lin

You are a spacious fluid sac


Opening September 12, 7pm to 10pm

September 12 – October 31 2015

 

 

Press Release

Statement

Los Angeles Times

Artforum


 


 

This is new art, but it stretches deep into time. New skin for an old ceremony.

In conversation, it’s possible I might say this art is grotesque. Other introductions might  include:

 

repugnant, incongruous, bizarre

irrational, unnatural, brutal

intoxicated and confrontational

as well as erotic, fantastic, and fetishistic

 

It is not art for art’s sake. It is art that is very much involved.  It marks a constant struggle to belong together.  It is often an art of social protest.

One might think that this kind of work is no more than whim and fantasy. Others may find this work an answer to the riddle of art itself.

We will have a couple chances to talk about this, perhaps at the opening on July 18 or during the evening program on July 22.

Perhaps the best introduction to the artists and their work is the following …


CONTENTS

Barry Doupé, lives and works in Vancouver

Excerpts from an animation that undoes the relationship between a boss and employee, so that we can speak about art, language and expression

-

Alex Morrison, lives and works between Brussels and Vancouver

A drawing and sculpture about the vanity of small differences between your own taste and others

-

Lucy Stein, lives and works in Cornwall

A new series of paintings from her bucolic sea–side studio; Druid, Limpid Cunt Lips… and Polly Tunnel, all 2015

-

Julia Feyrer lives and works in Vancouver

Body Art costumes and props for a chorus of Sick Muses, as plans towards a forthcoming play

-

Sung-Chih Chen lives and works in Taipei

A sculpture of deformed components scattered on the floor, read as a script for your own balance

-

Walter Scott lives and works in Toronto

Comics starring an avatar named Wendy; a girl in the art world caught between bourgeois ambitions and working-class malaise

-

Tiziana La Melia lives and works in Vancouver

Ten paintings on aluminum shapes that resemble the details of old Italian plates

-

Dick Jewell lives and works in London

A film and photo-collage shot at Kinky Gerlinky, between 1990 and 1993like Fellini’s Satyricon set to House music

 

PROGRAM

Twilight of the Idols

 

8 pm | July 22, 2015

An evening of events by some artists in the exhibition

 

With/

-A short story read by Tiziana La Melia

-Another film by Dick Jewel—Rave+Breaks, 1992

-A script reading by Julia Feyrer and company

-A performance by Lucy Stein with music by Chiara Giovando

 

Download Press Release

 

 

Stopping the Sun in Its Course

Sung-Chih Chen,  Barry Doupé, Julia Feyrer, Dick Jewell

Tiziana La Melia, Alex Morrison, Walter Scott, Lucy Stein

 

An exhibition curated by Jesse McKee

 

Opening Reception, Saturday July 18th, 7 to 10pm

Evening Program, July 22, 8 to 10pm

 

July 18 – August 22 2015

 

Press Release

 


(Image credit on home page : Dick Jewell, Space and Leigh GIF from ‘Kinky Gerlinky’, 2002. 101 minutes, video tape transferred to digital video.)

 

 

 

 

Anthony Lepore

Bikini Factory

at Ghebaly Gallery

Opening Saturday April 25, 7-10pm

-

Splash, Glow, Fullflex at the Bikini Factory

organized by Public Fiction

Opening Sunday May 24, 7-10pm

Closes July 30 2015

(or by appointment)

 

April 25 – June 6 2015

 

 

Anthony Lepore’s third solo presentation with the gallery features new work created in his father’s bikini factory.

Lepore’s grandfather built the factory in 1971, and two years ago the artist’s father rearranged several rows of obsolete sewing machines to make room for a studio.

Surrounded by the droning hum of machines, punctuated by the babbling conversation and laughter of the seamstresses, Lepore creates these photographic works in a space that continuously flexes between the mundane and the whimsical. Lepore pinpoints moments emblematic of this dynamic—an unintentionally suggestive handle for a cardboard box made from the same bikini straps the box contains, the apparition of a gold-striped mirage in a puddle of mop-water. Circumventing digital manipulation, Lepore’s working methods mirror the analog production that has continued unchanged in the sewing factory since the 1970’s.

Many of these works explore the enigmatic qualities of spandex, in photographs that Lepore composes with the excess material also being used by the other workers in the factory around him. Stretching a few feet of fabric in a picture frame—equivalent to the amount used to make a single bikini—Lepore stages intimate interactions between the fabric and the stuff of the workplace. Printed to the scale of the original objects, these works elicit an uncanny illusionistic presence.

In his series of Factory Chairs, Lepore has documented the workers’ own interventions. Over the years these women, who have known the artist since birth, alter, dress, and decorate their sewing station seats with the same material they work with, both to individualize them, but, more importantly, to make them comfortable. Lepore photographs the chairs in a neutral but illusionary space—hung on the outside wall of the factory just before sunset, making them look as though they might be floating, or reclining—figures sunning themselves in makeshift bikinis.

The exhibition at Ghebaly Gallery coincides with an installation of Lepore’s work curated by Lauren Mackler on-site at the bikini factory in Lincoln Heights, available to view by appointment.

Anthony Lepore lives and works in Los Angeles. He received his BFA from Fordham University in 2000 and his MFA from Yale University in 2005. His work has been exhibited internationally, from Los Angeles and New York, to London, Paris, Turin, Milan, and Shanghai, and is held in the permanent collections of the Guggenheim Museum (New York), the Los Angeles County Museum of Art (Los Angeles), the Hammer Museum (Los Angeles), the J. Paul Getty Museum (Los Angeles), the Kemper Museum of Contemporary Art (Kansas City, Missouri) and Yale University Art Gallery (New Haven, Connecticut), among others.

 

Press Release

LA Times

LA Weekly

Hyperallergic

Splash, Glow, Fullflex, at The Bikini Factory Pamphlet and Text by Lauren Mackler

 

 

 

Cammie Staros

Man Shall Know Nothing Of It


April 25 – June 6 2015

Opening Saturday, April 25, 7-10pm

 

 

“A kiss is the beginning of cannibalism.”

-Georges Bataille

 

François Ghebaly is pleased to present Man Shall Know Nothing of It, an exhibition of new sculpture by Cammie Staros.

Staros continues her investigation into the abstract, mutant possibilities of antiquated forms. Body-scale works in wood, brass, and ceramic both invite and repulse the viewer’s touch. Staros’s sculptures size us up, as if to envelop and devour. Meanwhile, they seem to watch us back through painted eyes—perched, for example, in a tuck of Venetian blinds.

Staros mates tropes of Modernism with the ancient forms of Greece and Egypt; the resulting double-entendre’d objects are at once coolly elegant and quietly salacious. The shapely hips of clay pots stacked into a precarious totem flaunt the voluptuous undulations of a Brancusi. An oversized pot lies semi-prostrate, propped on its handles, impassive as a reclining nude. The simple lines and circles on its sides evoke soft bodily protrusions in the language of Picasso or Miró. Where detailed narrative paintings ring fired surfaces of ancient artifacts, Staros wipes these pots into red, white, and black abstractions.

The present sculptures bear a similarly abstracted relationship to the human form. The language of bodies and of vessels overlaps; round bellies belong to clay jars, wood carvings have hands. Recalling LeWittian angles, shelves in the posture of Egyptian reliefs or wooden snakes extend to the height of a standard doorway. These uncanny sculptures push traditional dynamics between man and object until their sensual anthropomorphic shapes seem to veil a threat. They promise much, yet relinquish little—beyond echoes of a lecherous past; a dry orgy of antiquities; histories stacked and interpenetrating; bodies reduced to patterns in abstract congress.

 

Cammie Staros graduated from Brown in 2006 with a BA in Art and Semiotics and from CalArts in 2011 with an MFA in Art.

 

 

Press Release

Los Angeles Times Review

 

 

 

SOGTFO (Sculpture Or Get The Fuck Out) is a critical play on the misogynistic acronym TOGTFO (Tits Or Get The Fuck Out), a prompt directed at anyone claiming to be female within online boards, chats, and forums. This prompt, which bridges “accepted” adolescent immaturity and the more menacing forms of misogyny, points to the pernicious “made by and for men” sentiment that persists in cultural realms both high and low.

 

Under such hegemonic primacy, male artists tend to be elevated far above their female peers, and the notion of genius is largely reserved for men. This bias resides most resolutely in the discourse surrounding the practice of sculpture, in which an emphasis on grandeur functions as the new phallus of nations, churning out massive works for even more massive sales floors, collections, and institutions.

 

This exhibition argues against the predominantly patriarchal imagination that has defined sculptural form, and it aims to reveal the energy, intensity, and originality being forged by artists who exchange the emptiness of grand gestures for complexity, criticality, humor, and meaningful gravitas.

 

Without discrediting or disregarding history, the exhibition makes a case in and for the present—a time when the market has nearly consumed every aspect of the maker—by turning our attention to five contemporary artists whose gestures in form embody the now and point to the new in Sculpture.

 

Spanning three generations, the show introduces emerging artists Kelly Akashi, Nevine Mahmoud, and Kathleen Ryan, alongside established artists Andrea Zittel and Amanda Ross-Ho, whose radical contributions to contemporary sculptural discourse illustrate a shift in mentorship from one generation to the next. In so doing, it argues for a reevaluation of the all-too-gendered category of Genius.

 

SOGTFO is curated by Charlie White, with accompanying texts by Sarah Lehrer-Graiwer and Charlie White.

 

SOGTFO

Amanda Ross-Ho, Andrea Zittel, Kelly Akashi, Kathleen Ryan, Nevine Mahmoud

Curated by Charlie White

 

February 28 – April 11 2015

Opening Saturday, February 28, 7- 10pm

 

SOGTFO (Sculpture Or Get The Fuck Out) is a critical play on the misogynistic acronym TOGTFO (Tits Or Get The Fuck Out), a prompt directed at anyone claiming to be female within online boards, chats, and forums. This prompt, which bridges “accepted” adolescent immaturity and the most menacing forms of misogyny, points to the pernicious “made by and for men” sentiment that persists in cultural realms both high and low.

Under such hegemonic primacy, male artists tend to be elevated far above their female peers, and the notion of genius is largely reserved for men. This bias resides most resolutely in the discourse surrounding the practice of sculpture, in which an emphasis on grandeur functions as the new phallus of nations, churning out massive works for even more massive sales floors, collections, and institutions.

This exhibition argues against the predominantly patriarchal imagination that has defined sculptural form, and it aims to reveal the energy, intensity, and originality being forged by artists who exchange the emptiness of grand gestures for complexity, criticality, humor, and meaningful gravitas.

Without discrediting or disregarding history, the exhibition makes a case in and for the present—a time when the market has nearly consumed every aspect of the maker—by turning our attention to five contemporary artists whose gestures in form embody the now and point to the new in Sculpture. Spanning three generations, the show introduces emerging artists Kelly Akashi, Nevine Mahmoud, and Kathleen Ryan, alongside established artists Andrea Zittel and Amanda Ross-Ho, illustrating a shift in mentorship and aesthetic lineage that argues against longstanding—and all-too-gendered—systems of artistic valuation and authority.

SOGTFO is curated by Charlie White, with accompanying texts by Sarah Lehrer-Graiwer and Charlie White.

 

Press Release

“Sculpture” by Sarah Lehrer Graiwer

“An Argument” by Charlie White

Artforum

Art Review

KCRW Art Talk

Artcritical

Contemporary Art Daily

CARLA