Please join us for this special visit to the home of renowned collector and dealer Stephen White.
Photo-conceptualism, Photorealism and the Adjacencies of Photography: A Gallery Talk with Dennis Reed and Tom Jimmerson
Please join us for this exciting conversation and exhibition walkthrough followed by lunch at Guelaguetza, a Jonathan Gold-recommended Oaxacan restaurant near the gallery.
PAC·LA board member Dennis Reed will talk about his current exhibition of photographs, entitled Police Culture, followed by a discussion of conceptual art, photorealism, and their relationship to photography with gallery director, Tom Jimmerson.
Jimmerson, a veteran fixture of the LA art scene, was the former owner/director of Cardwell Jimmerson Fine Arts in Culver City, a gallery that focused on conceptual art, as does As-is.LA Gallery. Reed is best known as an educator, historian and curator, and this exhibition will be a surprise for those who have never seen his photographs. Jimmerson says, “photo-conceptualism and photo-realism stand today, and with the advantage of hindsight, as powerful, if implicit, critiques of photography. Reed’s photographs question the truthfulness of photography, the limits of our individual perception, and our relentless need to assign meanings to images.”
$37 per person including lunch - limited to 20 people
Image: Dennis Reed, #25 Bodycam, 2017
Please join us for a visit to the home of Alan Berro to tour his collection. Alan is passionate about photography and his collection includes images by David Hockney, William Christenberry, Lee Friedlander, Catherine Wagner, and Richard Misrach. His home is also extraordinary. It was built in 1907 and was the second home to be built in the flats of Beverly Hills.
This event is limited to 25 members. The address and parking details will be sent upon receipt of RSVP.
Transience, an exhibition of new work by Ukranian-American artist Yuri Boyko, came about as a series eliciting passing moments. Moments in time,moments evoking the senses or our memories. Something that we can’t put a finger on exactly: a vague recollection, a dissipating trail of a scent, or a dreamt scene that doesn’t make sense and leaves us puzzled about the seen imagery. Or, to the contrary: a sharp, clear, but short-lived physical, mental, or psychic event that, in spite of its duration, stays with us for a long time. The series is juxtaposing uncertainty of interpretation to active manifestation.
Yuri Boyko is a multimedia artist who lives and works in Los Angeles. His studio is located in Hollywood, but his ideas are influenced by a far wider world. His work has been shown in the US and in Europe and is a recent recipient of the Art On The Outside award for a public art in the City of West Hollywood. He was selected for Short List of Artisti Primiati (Top Artist) at the V Biennale of Contemporary Art in Genoa, Italy and Artist Residency at the Center for Research and Creativity Casmarles in Barcelona, Spain. Boyko received partial Grant Award for Artist Residency at Vermont Studio Center, Johnson, VT and Quick Grant Award through Creative Capacity Fund, Center for Cultural Innovation, Los Angeles. Boyko was born in Kyiv, Ukraine and attended British Higher School of Art and Design in Moscow.
Please join us for a special exhibition tour with the artist.
American photographer Andrew Moore (born 1957) is widely acclaimed for his photographic series, usually taken over many years, recording the effects of time on the natural and built landscape. The “Meridian” of the title of this series refers to the 100th meridian, the longitude that neatly bisects the country and has long been considered the dividing line between the fertile green East and dry brown West of the United States. Much of the meridian traverses America’s “flyover country," those remote and sparsely populated landscapes with a long history of repeated drought and failed dreams. Set within the context of that harsh backdrop, the photographs not only portray the land itself but also reflect upon the modern-day challenges posed to those who live there.
Please join us for an exhibition walkthrough with the artist Leon Borenszstein of it's so fucking lonely here, a series of images that document life with his disabled daughter over 30 years. Sharon, Borensztein's daughter, is legally blind, prone to seizures, and diagnosed with optic nerve hypoplasia. By the time Sharon turned 15, her mother was unable to care for her due to drugs and alcohol, tasking Borensztein with raising their severely-disabled daughter by himself. The series investigates life with chronic illness from a familial perspective, as well as the harsh realities faced by disabled women today. Click here to read a review of the exhibition in the LA Times.
We will then head to Hauser & Wirth in the Arts District for a tour of their exhibition by British photographer Sir Don McCullin, CBE, including a selection of his acclaimed images of war from around the world and societal upheaval in his home country. This show is a prelude to McCullin’s forthcoming retrospective at Tate Britain in 2019, which will be the museum’s first survey for a living photographer. The majority of works on view are limited-edition platinum prints, created through a special photographic process that delivers a particularly wide range of tones unattainable in more conventional gelatin silver prints.
PAC·LA invites its members to join us for a small group print sharing event.
Bring one photograph from your collection (not your own work, please) and share some information about the piece, the artist, and the story of how you acquired it. Professor/Collector/Curator Dennis Reed will lead and moderate the conversation.
We’d like to include ten pieces in this salon-style gathering. If we have more interest than we can accommodate presenters will be selected by random lottery.
Attendance is limited to 20 members in total. Please indicate in your RSVP whether you will bring a print to share. No guests please.
Photo © Penti Sammallahti
Join us for a special exhibition walkthrough with curator Colin Westerbeck.
GROUNDED, John Divola and Zoe Crosher Approach LAX from Different Directions – is about the work of two prominent Southern Californian photographers: John Divola and Zoe Crosher. Each has done a major project very different from the other’s, but with a common theme: LAX.
Done 30 years apart, the two projects are very different in approach and look, which is why the two are astute commentaries not only on the history of LAX, but on the history of photography itself.
Please join us for a visit to the newly reopened California Museum of Photography in Riverside. We will meet Sheila Bergman, Executive Director of UCR Arts and Leigh Gleason, Director of Collections, for a private tour of the museum's permanent collection and the exhibition A Handful of Dust.
We'll then walk over to the historic Mission Inn for a buffet lunch. $32 per person prepaid includes gratuity. No refunds after July 14.
The California Museum of Photography is the largest, most diverse photographic resource in the western United States. It's permanent collection encompasses the cultural, artistic, and technological histories of photography, and is comprised of approximately 750,000 photographs, negatives, cameras, archival materials, and publications. Highlights include the Keystone-Mast Collection, considered the world's largest stereoscopic archive, and the second largest public collection of cameras in the country.
A Handful of Dust is a speculative history of the 20th century, tracing a visual journey through the imagery of dust from aerial reconnaissance, wartime destruction, and natural disasters, to urban decay, domestic dirt, and forensics, via abstraction and conceptual art. The exhibition features works by over 30 artists and photographers including John Divola, Marcel Duchamp, Walker Evans, Mona Kuhn, Man Ray, Gerhard Richter, Sophie Ristelhueber, Aaron Siskind, Shomei Tomatsu, Jeff Wall, and Nick Waplington alongside magazine spreads, press photos, postcards, and film clips.
Please join us for an in-gallery discussion with the Hungarian avant-garde photographer János Vető, who will speak about his collaboration with the Hungarian performance artist Tibor Hajas.
Vető's images and videos are included in PROMOTE TOLERATE BAN, Art and Culture in Cold War Hungary, currently on view at the Wende Museum in Culver City. PAC•LA is proud to be a sponsor of János' visit here to Los Angeles to discuss these important works.
Vető is a photographer, fine artist, poet and filmmaker, and considered a significant figure of the Hungarian underground of the 1970s and 80s. His photos and videos have been featured in exhibitions worldwide, most recently in the 57th Venice Biennale in 2017 and in With the Eyes of Others: Hungarian Artists of the Sixties and Seventies at Elisabeth Dee In New York.
Join us for a special walkthrough of this intimate display of 37 pieces with curator Eve Schillo of this On-Site Partnership between LACMA and the Vincent Price Art Museum.
Mexican photographer Mariana Yampolsky (1925–2002) captured the beauty and desolation of Mexico and its history. American born, she moved to Mexico at the age of 19 and built an artistic practice honoring the cultural, natural, and architectural elements that fed her spiritually and inspired her to become a Mexican citizen. Combining a straightforward photo-documentary style with a poetic approach, Yampolsky has described her gaze as matching her imagery—precise and delicate, never overtly strident and always respectful.
Please join us for a visit and conversation with gallerist Tarrah Von Lintel to view and discuss a special exhibition celebrating the 25th anniversary of her gallery. “Talk to Me” is an expansive four-room salon hanging of 40+ works from artists with whom Tarrah has had associations over the entire run of the gallery. This exhibition will include works by Roger Ackling, Marco Breuer, Sarah Charlesworth, Alan Charlton, John Chiara, Jeronimo Elespe, Adam Fuss, John Newman and David Row and Allyson Strafella.
Please join us for these special exhibition walkthroughs. We will begin at David Kordansky Gallery to see Torbjørn Rødland's exhibition Backlit Rainbow. We will then walk over to Kanye Griffin Corcoran Gallery to view their exhibition of new and historic work by James Turrell.
Over the last twenty years, the Norwegian-born, Los Angeles-based photographer Torbjørn Rødland has produced a body of work remarkable for its cultural reach, its awareness of photographic history and technique, and its ability to press up against psychological, moral, and philosophical boundaries. Among the works on view in Backlit Rainbow is a group of photographs of young men that exemplifies the multi-faceted nature of Rødland’s project. Inspired by a subset of Japanese manga cartoons known as Boys’ Love, they depict homoerotic tableaux with varying degrees of sexual tension. Subtle and not-so-subtle homoerotic subtexts can be found throughout the show–rainbow-colored objects appear in two pictures, for example–and its title underscores the theme.
In the Glass Works and Autonomous Structures from James Turrell, four newly created Glass works will be installed each with their own scale, shape and experience of color. Each Glass is a unique composition, in which hundreds of vivid combinations of colors seep into and against each other as they slowly shift over time. This wall-cavity filled with color advances the lineage of abstract art, particularly calling to mind Mark Rothko’s Color Field paintings or Ad Reinhardt’s black paintings, which for Turrell “brought color out of darkness.” In implicating the viewer in the temporal experience of color within the physical and perceptual experience, Turrell turns light into a powerful substance. The Autonomous Structures evolved from Turrell’s interest in creating unique architectural spaces designed for shaping perception. In his words, these spaces “are just containers for the light; the art is in the experience of the viewer.” This exhibition will present several of the artist’s models for these structures, cast in smooth, undecorated plaster.
If you have not yet visited the new Wende Museum of The Cold War in Culver City, this is a great opportunity! We will tour the exhibition Promote Tolerate Ban: Art and Culture in Cold War Hungary, which highlights Hungary’s unique artistic culture following WWII through the 1980s. This unique period in Eastern Europe was defined by loyalty to the Soviet Union combined with a liberal climate in domestic and cultural affairs. Through photographs and paintings along with advertisements and examples of material culture, this historical exhibition examines the provocative narrative of life in Hungary during this time.
Promote Tolerate Ban is a joint initiative between The Wende Museum and The Getty Research Institute.
Plenty of free parking.
Join us for an exhibition walkthrough with gallerist Stephen Zeigler.
THESE DAYS is happy to be partnering with UNITED AMERICAN INDIAN INVOLVEMENT (UAII) to unveil a selection of never before exhibited vernacular photography, including Polaroids and snapshots, that weave together the lives and critical events of UAII’s earliest beginnings on Winston Street near Skid Row. This historic and noteworthy photo exhibition will be presented in the exact same space where the photographs were taken over 40 years ago sharing a story of hope, community and resilience of America’s first and often forgotten people.
UAII was established as a nonprofit 501(c)3 by Marian Zucco and Baba Cooper in 1974 to provide shelter, food, and a welcoming place for American Indians living on the streets of Skid Row in downtown Los Angeles. Through the U.S. government program of relocation (1956-1979), a large portion of American Indians were encouraged to leave their homes on reservations throughout the country to move to urban areas, including Los Angeles, in hopes for a better opportunity for jobs and education, but the reality was a life of struggle (1).
UAII has grown to become the largest one-stop provider of human services for American Indian/ Alaskan Native families and youth living in Los Angeles County providing services to members from over 200 different tribes.
Join us for an exhibition walkthrough with curator Lanka Tattersall
The Museum of Contemporary Art, Los Angeles (MOCA), presents Real Worlds: Brassaï, Arbus, Goldin, an exhibition that brings together the works of three of the most influentialphotographers of modern life. Drawn largely from MOCA’s extraordinary collection of photography, the exhibition provides a remarkable opportunity to explore the ways in which Brassaï (Gyula Halász) (b. 1899, Brassó, Hungary (now Romania); d. 1984, Èze, France), Diane Arbus (b.1923, New York; d. 1971, New York) and Nan Goldin (b. 1953, Washington, D.C.) use the camera to reflect and transform the world around them. Real Worlds features an exceptional trove of approximately one hundred works by the three artists, including Brassaï’s unforgettable images of the nocturnal denizens of Paris, Arbus’s most memorable and unsettling portraits, and Goldin’s searingly poignant documentation of herself and her community. The exhibition is structured around MOCA’s nearly comprehensive collection of photographs that appear in three legendary photobooks: Brassaï’s The Secret Paris of the 30’s (1976), the posthumous Diane Arbus: An Aperture Monograph (1972), and Goldin’s The Ballad of Sexual Dependency (1986).
This event is limited to 30 members.
Image: Nan Goldin, Nan, one month after being battered, 1984
Please join us for a walkthrough with exhibition co-curator Eve Schillo, Assistant Curator, Wallis Annenberg Photography Department, LACMA.
Social media sites, beginning with Flickr as early as 2004 and soon followed by Facebook, Twitter, and Instagram, have helped to popularize the selfie by encouraging users to tag and share their photos online. Ten years later, Ellen DeGeneres caused a frenzy on social media when she tweeted her now legendary 2014 Oscar selfie with Meryl Streep, Julia Roberts, Bradley Cooper (who took the picture), and other stars. Shared a staggering two million times, her post became the most retweeted photograph of all time and confirmed the selfie as a ubiquitous form of contemporary self-representation.
Today, millions of selfies—from the funny and self-deprecating to the private and sexually explicit—are shared with friends and strangers around the world. But is the selfie the same as the fine art genre of photographic self-portraiture? How are these two forms of photographic self-expression different? Why is it important to make the distinction between the two practices?
This is Not a Selfie is touring show organized by the Los Angeles County Museum of Art (LACMA) and comprises 65 photographers exploring and expanding the definition of the self-portrait. Ranging from early 19th-century experiments through contemporary digital techniques, the exhibit includes works by Diane Arbus, Robert Mapplethorpe, Catherine Opie, Cindy Sherman, Alfred Stieglitz, Lorna Simpson, and Andy Warhol.
Attendance is limited to 20 members.
Image: Cindy Sherman, Untitled Film Still #5, 1977
After a five-year hiatus, Doug Harvey returns to his archive of found moldy slides to curate his first new presentation since Rhizomatic Transmissions, which screened at The Museum of Jurassic Technology, Hammer Museum, UCLA, Echo Park Film Center, and various other Los Angeles and West Coast venues.
Compiled from a collection of several thousand 35 mm photographic transparencies found in the detritus excavated from a local hoarder's house during an apparent intervention, the slides had been subjected to flooding and grown various types and degrees of fungal layers, altering the pictorial content of the emulsion -- sometimes slightly, sometimes transforming the image into a total abstraction. Harvey describes the resulting (washed and stabilized) artifacts as " a stochastically linked collaboration between the original vacation photographer, crazy hoarder dude, the mold, and me – plus the found and improvised soundtrack elements, and finally the audience.”
One Los Angeles critic describes the found moldy slides as "flat-out gorgeous... and just as fascinating on a conceptual/semantic level, introducing issues of authorship, truth, transcendence, intention, control, chaos, narrative, meaning, and analog physicality into a larger conversation about photography in the digital era."
Return of the Moldy Slides will consist of a new selection of the actual original slides using vintage Kodak carousel projectors, and will be accompanied by a live performance of improvised music by The Friendliness Happening.
Parking information and directions to the Art Building will be included in your RSVP confirmation.
Doug Harvey is an artist, writer and critic (for thirteen years the art critic for the LA Weekly), independent curator, experimental musician, and educator who lives and works in Los Angeles. F, his noise band with Marnie Weber, Daniel Hawkins, and Kane Lafia will be performing with the Bob Baker Marionette Theatre on June 2nd, and a secret curatorial project Less Art presents the LLM will debut in Chinatown this summer. His activities may be monitored online at www.dougharvey.blogspot.com and www.dougharvey.la.
Please join us for a walkthrough of Paper Promises: Early American Photography with curator Mazie Harris.
Paper Promises traces mid-nineteenth-century experimentation with and exploitation of photography on paper. Rare photographs and negatives are featured alongside iconic images from the formative years of photography in the United States. The exhibition demonstrates the importance of photographic reproduction in shaping and circulating perceptions of America and its people during a critical period of political tension and territorial expansion.
This event is limited to 20 attendees. Members only.
Jona Frank’s Cherry Hill is a photographic memoir about growing up in suburban New Jersey during the 70s and early 80s. Accompanying the photographs are 25 essays about her childhood and family history. Cherry Hill pushes the boundaries of photography by creating a one-to-one cinema that is part memoir, part photo-book and part cultural-study.
Frank is working with actors to meticulously produce the domestic recreations from her youth. Emmy winner and Academy Award nominee Laura Dern is portraying Frank’s mother and three young actors are playing her at different stages of her development. Frank’s intent is to give record to the poetic-memories of our past that we all carry. Her hope is that the viewer will experience a subtle recognition between reality and cinematic fantasy.
On our visit we will view Frank's work in a Santa Monica landmarked home built in 1910.The home at 401 Ocean is about to be remodeled, but before it begins Frank is using the location to reconstruct her childhood home, so in addition to being introduced to her new series, we will also be visiting the sets where the work is being made.
Please join us for an exclusive exhibition walkthrough with the artist.
In General Song, Valenzuela abstracts and adapts images historically associated with protest. Drawing on his longtime interest in poetic resistance and his experience growing up under the dictatorship of Augusto Pinochet in his native Chile—as well as research on resistance movements in countries such as the Ukraine and Venezuela—the artist focuses on simple physical structures that people build in times of oppression as a means to explore civil disobedience, as well as the masks worn to protect against the authoritarian response to dissidents. The title of the series refers to Canto General, Pablo Neruda’s volume of poetry which was first published in 1950, and narrates the history of the Americas from a Latin American perspective.
Please join us along with photographer Matthew Brandt as we view his fourth solo exhibition at M + B Gallery, AgX.Hb. The show will present new works from his recent Silver series, in addition to the debut of the Heidelberg Blankets.
In his Silver series, Brandt extends the limits of black and white photography (in its near obsolescence in the digital age) by utilizing the materials that are inherent to that process and experimenting with the elements' shape shifting nature. The exhibition also marks the debut of his new series Heidelberg Blankets. These vibrantly hued textiles contain images of working hands and various studio objects, all intricately embroidered onto fabric.
Please join us to view an exhibition of portraits by Yousuf Karsh.
In addition to the dialog regarding the portraiture, discussion will be presented regarding the trend seen at recent Paris Photo's and AIPAD of the re-purposing of vintage prints made for other purposes (press, promotion, etc) as fine art prints.
Yousuf Karsh was the 20th Century's best known portrait photographer. He photographed thousands of subjects during his decades-long career based from his studio in Ottawa, Canada. Duncan Miller Gallery presents the largest exhibition of vintage Karsh photographs ever assembled on the West Coast. See nearly 100 portraits, ranging from celebrities, musicians, writers, business leaders, politicians and others.
Please join us for a tour of Harald Szeemann: Museum of Obsessions, the new and unique exhbition at the Getty Research Library. Co-curator Pietro Rigolo will walk and talk us through this marvelous display of unusual works curated by one of the art world's most eccentric collectors.
A distinguished advocate of conceptual art and postminimalism, and a figure who became synonymous with the advent of globalism in contemporary art, Harald Szeemann (Swiss, 1933–2005) developed a new form of exhibition-making that centered on close collaborations with artists, and a sweeping international vision of contemporary culture. Szeemann's exhibitions covered vast areas of research, challenging traditional narratives of art history and often embracing creative fields outside the visual arts. For each of his more than 150 installations and exhibitions, Szeemann added materials to his vast library and research archive, which he referred to as the "Museum of Obsessions." His museum comprised not only the physical place of the archive but also a mental landscape that encompassed all moments of genius and artistic intensity.
Following the talk we can all meet in the Getty Cafe for lunch together, and an afternoon exploring the Getty campus. Attendance is limited to 18.