Dan Bayles

The Apotheosis of Washington


Opening September 12, 7pm to 10pm

September 12 – October 24 2015

 

 

Candice Lin

You are a spacious fluid sac


Opening September 12, 7pm to 10pm

September 12 – October 24 2015

 

 

Press Release

 

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

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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

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Julia Feyrer lives and works in Vancouver

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

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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

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Tiziana La Melia lives and works in Vancouver

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

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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

 

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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

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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

 


 

 

 

Mike Kuchar

Saints and Sinners

January 17 – February 14 2015

 

Screening of “Sins of the Fleshapoids”

(the first presentation in HD of his 1965 seminal and solo directorial debut)

Every hour, during Business Hours

 

Artforum Critics’ Pick

Press Release

 

 

FOR IMMEDIATE RELEASE

 

 

François Ghebaly is pleased present “Im Different”, Sayre Gomez’ first solo exhibition in Los Angeles.  The exhibition will consist of 4 distinct yet related bodies of work that are all centered around the ideas of ___________ , ______________ , ________ , ________________ , ______________ .  Each body of work is presented within two different yet highly contrived spaces loosely referencing a shopping center with its indoor showroom, and surrounding outdoor garden.

 

In the main gallery, on first steps into “The Hypnotic Presence of Popular Music in Southern California”, the artist’s first large-scale, multi-channel installation. Covering the entire space, the work is comprised of 12 speakers housed within individually painted fiberglass outdoor garden rocks resting on a bed of woodchips. Each respective rock plays a different pop “anthem” sourced from Mark Zuckerberg’s playlist titled Quest, which is publicly accessible on the music streaming platform Spotify.  Further referencing outdoor spaces, painted banners hang on the brick wall of the gallery. Designed by Chicago-based design firm, Struggle Inc., the banners feature various slogans sourced from algorithmically generated “lorem ipsum”, a design industry tool often referred to as dummy text.

 

The remaining walls will present a series of Gomez’ new paintings. The subtle color gradients from dark to light purples and blues range from representation to abstraction, and lead the viewer from the “outdoor” space into the “indoor” space housed in the adjacent room. Gomez’ paintings employ industrial application processes, such as airbrush and automotive paint sprayers, techniques that have historically been used in the film and advertising industries. While the representational paintings of images drawn from different online sharing platforms appear photographic, they are also made to be photographed, a primary intention of the histories being referenced.  The process of his abstract works also share a similar relationship to representation. At first black and white, the  compositions are buried under layers of pigmented varnish creating a sensational “window” from which the abstractions peak through at differing levels of opacity and color.

 

Following the paintings, and entering the Show Room the viewer will encounter two sculptures of identical mid-century northern European designed coffee tables. Constructed from three distinctly different materials and surfaces, they will be adorned with objects commonly found in the homes of ____________, such as ___________,  _____________, and __________.  Near the tables, “Large Plinth with Records” features a patina similar to artist’s abstract paintings, and prominently features a stack of cast vinyl records.  The room will also feature “Uww (Untitled window work)”, in which the artist repurposes a salvaged window as an artwork by installing it directly into the gallery wall. Because of the reflective nature of the glass the window is never without an image. It functions as both an object to look into, and an object to look at. Finally, the large painting “Generation Gap”, features two popular quotes turned slogans from John Lennon and Kurt Cobain.

 

Sayre Gomez holds a BFA from the School of Art Institute of Chicago (2005) and an MFA from CalArts (2008). Recent solo exhibitions include Slippery at The HOLE in New York, This is to Sink at Michael Jon Gallery in Miami, and Windows and Mirrors jointly hosted by Kavi Gupta Gallery and New Capital, in Chicago.  The Artist also co-organized, with JPW3, the exhibition Culm at Night Gallery in Los Angeles, and has recently participated in group exhibitions at Fluxia in Milan, 356 Mission St. in Los Angeles, Clearing in New York, Robert Blumenthal in New York, Nagel/Draxler in Cologne, and Balice Hertling in Paris.  Gomez’s work is included in BRIGHT!: Typography Between Illustration and Art, Published by DAAB, in 2013, and 100 New Artists published in 2012 by Lawrence King, UK. His work has been featured in various publications and blogs such as Artforum Magazine, Artforum.com, Contemporary Art Daily, and Flaunt Magazine.

 

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