MOVE & GROW

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MOVE & GROW This catalogue is published by Morono Kiang Gallery on the occasions of the exhibition MOVE, March 20 to May 22, 2010, and the exhibition GROW, June 26 to August 21, 2010. Both exhibitions were organized and displayed at the Morono Kiang Gallery.

Published 2010 by Morono Kiang Gallery ISBN-13: 978-0-9815389-7-6 ISBN-10: 0-9815389-7-5 © 2010 Morono Kiang Gallery © 2010 “Moving Up, Growing On”, Sonia Mak © 2010 Images, by the respective artists All rights reserved, no portion of this book may be reproduced - mechanically, electronically, or by any other means, including photocopying, without written permission from the publisher.

Book Design: Eliot Kiang, Qian Cheng Photography: Hirofumi Inaba Editor: Sonia Mak Introduction Essay: Sonia Mak MOVE and GROW were curated by Shervin Shahbazi Morono Kiang Gallery Bradbury Building 218. West 3rd Street Los Angeles, CA 90013 www.moronokiang.com Printed and Bound in China

Moving Up, Growing On When curator Shervin Shahbazi came up with the idea for the companion exhibitions, Move and Grow, he wanted to bring contemporary artists together who continually strive to advance our collective future through their art practice. With the conviction that art has the potential to create agency and propel change, Shahbazi invited eight artists in Move, to create works that complicate the status quo and promote the common good through personal agency. In the follow up exhibition, Grow, eighteen artists (including five who had participated in Move) approach a variety of topics that encourage the viewer’s curiosity, invite open-mindedness, and nudge self-reflection.

Shahbazi conceived of Move as a forum for artists to present their perspectives on the change they want to see in the world, using the form of the house as a metaphor for the ordered relationships that define the world in which we live. Much of the work is grounded in cultural inquiry and

critique, social activism, and a spirit of resistance against prevailing norms.

Inspired by the garden as a safe, open place for contemplation and cultivation, Shahbazi intended for Grow to examine ways we can embark on meaningful paths to change. Works in Grow invite the viewer to reflect on one’s ability to creatively solve what ails our contemporary existence starting with “our own backyards”.

Working closely with many of the twenty-one participating artists, Shahbazi wanted to weave together the many disciplines and professional pursuits to which they are committed and bring to bear a wide spectrum of mediums, styles, and vantage points in the exhibitions. Most importantly, their art works address the shifting realities that complicate the demarcation between the local and the global, alter the chasm between humankind and nature, and impact peace or spark discord.

Several common themes emerge from the works in these two exhibitions: glamour, excess, conscience, history and politics, nature and technology, the environment, and play.

GLAMOUR Both of Kendell Carter’s installations, a collection of works in Move and a single-piece installation entitled Three The Hard Way in Grow, reveal an art practice steeped in the traditions and principles of both art and design. Carter purposefully conflates these disciplines as a postmodern ode to the contradictions of cool, class, and control in city life today. The artist is known for working in a wide range of media— from copper-plated Timberland boots and aerosol paintings with glitter and fat shoelaces, to a gold-chained noose and milk crate ottomans (his glorious tongue-in-cheek homage to the urban poor man’s coffee table/everyday storage solution). Carter wields a hybridized aesthetic of the haves and the have-nots (and those middle-class suburbanites who are just posing).

Kimmy Kim has throughout her career found a wellspring of inspiration in the exploration of femininity.

With her sculpture, Self-Portrayal, consisting entirely of product containers that promise vivacious youth-like beauty (i.e. softer, firmer, toned, fuller, healthy-looking, brighter, and wrinkle-

MOVE, gallery installation view

free), Kim plumbs the depths of vanity, the commodification of desire, and the lengths women will go to meet the expectations of the social conditioning that perpetuates ideals of beauty. Kim seems to suggest that surrendering to the hype of the market cannot guarantee you beauty, but it can alienate who you are from what you look like.

Hushidar Mortezaie’s hand illustrated perfume bottle, entitled Shard Of Divinity, houses a volatile combination of glass crack pipes, growing crystals (not quite diamonds), and color. Pictured before a sparkling city backdrop is the Platinum Knight, a party boy of mythic proportions a la Michelangelo’s Adam—an idealized character borrowed from a multidisciplinary project-in-progress by the artist. As a fashion designer, Mortezaie drew not only on his expertise with the branding of merchandise but his experience working in the deep, unforgiving trenches of the glamour business. This oversized Calvin Klein Eternity bottle is the perfect poetic shell for the lustful nihilism encased within.

Everyone knows that spoofing Andy Warhol is an effortless enterprise, but Beijing-based artist Xin Yunpeng

does it with a cool and understated kind of confrontation. Xin’s Cream of Mushroom Soup video demystifies the depth and content of this famed Campbell Soup can by throwing coins into its matter, like coins in a fountain full of wishes or perhaps like a small investment that mirrors the object’s real worth on a grocery store shelf.

The artist’s cynicism is tinged with ambivalence and marvel at Warhol’s (continued) astounding art market success, his discursive success in the annals of art history, and his pop cultural legend in the minds of millions uninitiated to the art world.

EXCESS Betty Lee’s installations use projection to convey introspection and how the mind captures memory, generates thought, and distills information. Lee creates an immediate intimacy in her bedroom installation, entitled Smartest Self, but the stream of nattering thoughts that runs through one’s mind before one goes to sleep offers anything but respite. Lee’s Postcards from Home features a mélange of images from her childhood, such as

her family’s no longer extant laundry and restaurant businesses, and her life and travels as an adult. Pictures of personal relevance pulse forward and recede within the vacant sphere of an X-rayed skull, the way that ideas throb in our brains, the artist explains. Through these works, Lee explores how information and experiences shape who we become.

In his toner transfer drawings, Post Fiber Home, Post Fiber Profile, and Surplus, Steven Yao-Chee Wong examines the frenetic way we process and sort through a daily onslaught of stimulation and commodities as valuable information, recreational entertainment, and otherwise insignificant detritus. What do we retain, what do we discard? Just as Betty Lee ponders what we take to bed with us, Wong challenges the viewer to decide what is worth holding onto (and where are you going to put it once it’s yours).

CONSCIENCE With her signature dark humor, Sarah Perry explores truth, authority, and power by mining the relationship between humankind and systems of belief, namely the role of man as mythmaker, in her sculpture, All The Way Down. It was on the auspicious occasion of Darwin’s 200th birthday that Perry made the work, drawing literally on the old adage, “I swear on a stack of Bibles.” As a direct challenge to the Christian creationist camp, Perry crowned her monumental pillar of holy books with the trophy of Evolution: a cast of the skull of Australopithecus—the primate fossil that provides evidence to the link between ape and human, dating back millions of years. To further complicate the historic debate made present here, Perry decorates the skull with a golden North Star and a pair of Big Dippers, to underscore the importance of stargazing and other ancient ways of knowing humankind’s place in the world.

GROW, gallery installation view

John Carr’s first ever installation piece, Because We Care, boasts colorful walls of puzzle-pieced and screen-printed Plexiglas that form an intricately patterned bathroom stall complete with toilet and tissue but minus the privacy. Through his dexterity as a seasoned printmaker and the ingenuity of his cause-driven, graphics-rich artistic vision, Carr mocks the armed omnipotence of the powers that be.

He turns his attention in Grow to interrogate the supposed benefits of GMOs, genetically modified organisms, with his works No GMO and Baby out of disgust for the corporate drive to manipulate and privatize genetics.

His etching of a human fetus against a motif of the ancient Egyptian flower of life foregrounds humanity at its most innocent, casting doubt on the value of scientific quick-fixes that skew the severity of short-term problems and promise long-term repercussions.

HISTORY In Regeneración, painter Antonio Vigil explores his interest in “Landscape as metaphor for time and space, and how it absorbs the imprint of differ-

ent cultures.” Ruben Salazar (formerly Laguna) Park is the setting for his reflection on the Chicano Moratorium’s historic march 40 years ago. The peaceful demonstration’s violent end left four dead at the hands of the police. The artist attempts to recount the galvanizing spirit that had given birth to the movement before it became a dark moment in American History during the Vietnam War. Vigil’s hazy image of the marchers (before the police arrived) shows a crowd with hope in their eyes. On the right, a black and white image of the 2010 May Day Immigrants Rights march in downtown Los Angeles points to the ongoing need to fight for dignity in the face of new manifestations of institutionalized and legislated racism.

As a seasoned raconteur and visual satirist, Ricardo Duffy’s genius is his ability to weave together the past and the present, employing a wide array of mediums and techniques and a wicked sense of humor to dispense poetic (often comic) justice in his wake. In Move, Duffy’s Cleaning the Vortex installation mocks the arbitrary authority of the art market, as his jaguar-masked woman vacuums up a broken minia-

ture replica of Jeff Koons’s balloon dog. In Grow, Duffy’s paintings, The Real Looters and Curtain Raiser, and his drawing, He Seduced Mother, are all works made years ago in response to previous attempts to establish unconstitutional anti-immigration laws, such as California Proposition 187, the exploits of capitalism, and the legacy of imperialism. With an oil-filled Gulf of Mexico, an economy stuck in triage, and fascist anti-immigrant legislation back on the national table, these works are as relevant today as they were when Duffy first created them. His pensive new work, Sphere of Consciousness, takes a decidedly different tack: the tranquil chamber of bougainvillea boughs (from the artist’s own backyard) epitomizes his love for the natural world and invites viewers to stay and slip into a reverie of their own.

NATURE & TECHNOLOGY Vines of laser cut flowers made of brass and gold paper, entitled Live Forever is the creation of partners Oliver Hess and Jenna Didier, more commonly known as Didier Hess and

by the name of their nonprofit organization, Materials & Applications.

Nature in harmony with technology and the built environment, especially the notion that the city is an organism unto itself, is an enduring theme in the work of Didier Hess. The pair has gained a well-deserved reputation for employing ingenuity in fabrication and innovative, flora-and-fauna-inspired design. Reminiscent of origami novelties and the gilded ornamentation of houses of worship in antiquity, Live Forever promotes a charmed, garden-like ambiance for the eye.

Just as Didier Hess’s work entices viewers to appreciate the natural environments they already inhabit, Mike Russek’s The Artificial Tree of Life presents nature and technology in unison. Computers and other electronic devices are central to Russek’s art practice as a sculptor, designer, and expert fabricator, and his work draws from the inner technology and external imagery of this important tool.

GROW, gallery installation view

ENVIRONMENT An artist in residence program in Giverny, France changed May Sun’s life forever: she discovered that she was a nature lover. T E N D, a double-exposure photographic polyptych, captures images of the artist’s commune with nature during her stay in this picturesque town known for being the home of impressionist painter Claude

Monet. Emerging from a mound of smooth river rocks is a floor-mounted video of the red, yellow, white and black koi that swim in the pond in her backyard. The easy serenity of Sun’s installation beckons viewers to bring nature into their daily lives and makes a case for the unexpected joy it brings to one’s quality of life, no matter what their means.

In Orameh Bagheri’s Nine, elegant representations of the built and natural environments grace undulating surfaces of corrugated metal, signaling to the viewer our pivotal role in the delicate balance of life. Below the menagerie of images from around the world (including microcosms invisible to the naked eye), unadorned mud brick Matrushka dolls and a small mound of dirt invoke the element of the earth. Bagheri’s project is not merely to entreat viewers to simplify our lives but to nurture our inherent connection to nature.

PLAY Play is an equally important theme in the house of Move and the garden of Grow. The mannered trajectories of Kim Abeles’s wire palm trees towering over an affluent Orange County beach underscore the craft of manufacturing perfection in the context of urban planning. Melly Trochez‘s unlikely trophy to the material diversions that can slow the pursuit of higher spiritual and intellectual plateaus lends a quirky spin to the otherwise serious subject of self-actualization. A stone masquer-

ading as a football is commonplace in many poor neighborhoods; but here, poised on an Astroturf square with the sound of a game in play, Camilo Ontiveros’s Gol, transports viewers to another place where no one warms the bench and everyone can score.

Erica Cho’s tarot card game, entitled The Summer: A Reading for Los Angeles, entices the viewer to reflect on the intrigues of divination with a simple invitation to play.

CONCLUSION These exhibitions prove that Los Angeles is home to many artists who care about participating in making change for the benefit of others. The broad spectrum of perspectives and the rich diversity of their ideas is an encouraging sign that a thriving community of cultural makers and thinkers recognize their collective stake in the present— from the banality of our daily lives to the arc of history out of which our legacy will be forged.

Two artists underscore the power of the future in their work. The title of Dominique Moody’s Aiye Omode

(pronounced “eye-yay oh-moh-day”) means “earth child” in Yoruba. Her sculpture represents the promise of a new humanity emerging from a growing vessel that has been spent and destroyed. Amitis Motevalli’s installation Ghusl perhaps best articulates the optimistic appeal that Grow makes to the future. A photographic image of the artist’s nude body lies silently beneath clear glass divination bowls. She serves as both the center and foundation of the piece, physically and spiritually cleansed and ready to invoke new doors to open, to wish for gifts of wisdom and patience, and to hope for renewed vitality to continue onward.

Sonia Mak is an independent curator and writer based in Los Angeles, California.

GROW, gallery installation view

kim abeles Signs of Life is a series that I started in 2004. The work uses high-resolution satellite photographs, and pinpoints life forms in urban areas.

One of the first pieces, Looking for Paradise (One Tree for Each Tree Downtown) uses model trees to mark each tree in a section of downtown Los Angeles. “More than I would have imagined,� remark most viewers.

GROW G ROW The series extended into the notion of the representation of trees, in locations like baseball stadiums where their concrete blankets are encircled by clusters of plant life. Another region of focus is the Newport Coast and Laguna Beach in southern California, where palm trees are a common luxury, leaving the engraved impression of perfection on the minds of visitors.

Signs of Life: Ikebana Palms, plexiglass, spray paint, walnut,2010

KIM ABELES EDUCATION 1974 BFA, Ohio University 1980 MFA University of California Irvine SELECTED SOLO EXHIBITIONS 2010 Laband Gallery, Loyola Marymount University, Los Angeles

Los Angeles World Airports, Los Angeles International Airport 2009 The Public, West Bromwich, West Midlands, U.K.

Torrance Art Museum, Torrance, CA 2008 Schneider Museum of Art, Ashland, Oregon SELECTED GROUP EXHIBITIONS 2010 (Re-) Cycles of Paradise, Spanish Cultural Center, Mexico City (Climate Summit)

Hypothesis, Gallery of Contemporary Art, University of Colorado, Colorado Springs

Make:Craft, Ben Maltz Gallery, Otis Art Institute, Los Angeles, CA

Art Shack, Laguna Art Museum, CA

An Idea Called Tomorrow, Skirball Museum and California African American Museum,

Los Angeles, CA 2009 (Re-) Cycles of Paradise, DGI byen, Copenhagen, Denmark (Climate Summit)

Installations Inside/Out, Abeles in collaboration with Ken Marchionno, Armory Center

for the Arts, Pasadena, CA

Futuresonic, CUBE Gallery, Manchester, U.K.

Futuresonic 2.0, Peter Scott Gallery, Lancaster University, Lancaster, U.K.

Dialogue in Chinese Gardens, Yuchun Museum, Suzhou, China 2008 Feeling the Heat, Deutsche Bank Gallery, New York

cumaky-zobaky-sosaky, (Muzzles, Beaks and Stingers), Galerie Califia, Horazdovice,

Czech Republic

Treasures from the Vault, Natural History Museum, Los Angeles 2007 Songzhuang Festival, Beijing, China

Art Since the 1960s-California Experiments, Orange County Museum of

Art, Newport Beach, CA

Weather Report: Art and Climate Change, Boulder Museum of Contemporary Art,

Boulder, CO

Measure of Time, University of Berkeley Art Museum, Berkeley, CA

Eco-Footprint, Brenda Taylor Gallery, New York (2007)

Signs of Life: Ikebana Palms, detail (top and bottom)

orameh bagheri

G ROW GROW

Nine (detail) Aluminum corrugated metal, photo transfer, dirt, straw, sand, 2010

The symbology of the number nine varies throughout different cultural perspectives. In this case, the number nine signifies completion - where the mental, physical and spiritual elements of being are in complete balance.

Nine also represents the attainment of success and achievement on life circumstances by having the ability to have an active, creative and intuitive impact through internal understanding and investigation.

These nine panels of corrugated metal panels are utilized because it is a modern day building material used universally. I have selected photographs which I have taken from Iran, United States, Thailand, Laos and France which link a relationship between structure and form as they are experienced through a connection

to cultures, nature and spirit. Through my own experience, structures can be stable and timeless or dismantled and deconstructed which are important as sources of growth, just as in natural cycles - the solidity of earth and the purifying and destructive character of fire are equally profound in the balance of the natural environment.

The connection to my understanding of self and to the world that I live in, along with an immense appreciation and respect for all living beings and creatures life inspire and motivate me as a human being.

Nine, aluminum corrugated metal, photo transfer, dirt, straw, sand, 2010

The matryoshka (matryushka) doll is a childhood toy that I used to play with evoking memory and history and has become a metaphor for the human shell/ structure and self-realization, which resonates with me strongly. I have made these nesting dolls with earth; mud-brick, adobe, cob are all building materials indigenous to many cultures and societies throughout the world. It is through personal exploration and peeling away of identity and ego that I find a deep understanding that we are of the earth - no division or separation is evident.

Nine (detail) Aluminum corrugated metal, photo transfer, dirt, straw, sand, 2010

I made this piece in response to the current catastrophic BP oil spill in the Gulf of Mexico by addressing not only the environmental, social and political impact of such atrocities, but also as a reminder of the personal responsibility we humans have as members of this vast ecosystem. How do our current choices and lifestyle contribute to the degradation of our environment and political policies that enlist war and violence in exchange for natural resources? We can continue on this current path leading to wreaking global havoc or choose to sow seeds of wisdom and regeneration.

Bitter Pill: What Seeds Will We Sow Now? Clay, acrylic paint, soil, bullets, coffee container, 2010

ORAMEH BAGHERI EDUCATION 2001 Professional Designation Degree, UCLA Extension Interior Architecture & Design 1995 B.A., Art, San Jose State University SELECTED GROUP EXHIBITIONS 2009 Midnight Pictures: New American Photography, C4 Gallery, Hollywood, CA

Pandemic Show, Overtones Gallery, Venice, CA

Traces of Being: Iran in the Passage of Memories, Mural Timeline Illustration,

Morono Kiang Gallery, Los Angeles, CA 2009 From The Streets of Iran, Crewest Gallery, Los Angeles, CA PUBLIC ART 2008 LA Yellow Box, ongoing project on the Los Angeles River DESIGN PROJECTS 2007-8 Ashai Design Corporation, Torrance, CA

Dubai Lifestyle City, Dubai, United Arab Emirates

Marriott Courtyard, Marriott Executive Apartments, Staff Accommodations, Sports

Academy, Golf Pavilion, Tantra Restaurant in Five Star Hotel, and Mosque

Jain Residence, Palos Verdes, CA 2004-7 LBL Architects & Interiors, Marina del Rey, CA

Marriott Courtyard, Anaheim and Sacramento, CA

Marriott Fairfield, Sacramento, CA

Cha Hospital (Hollywood Presbyterian), Los Angeles, CA

Oak Valley Spa & Resort, Seoul, Korea

California Country Club, Mission Viejo, CA

Korean Baptist Church, San Jose, CA

Lotte Casino, Seoul, Korea (Design Competition) 2006-7 Design 360, Westwood, CA

Fairmount Palm Island Hotel, Dubai, U.A.E.

Loewe’s Hotel, Beverly Hills, CA 2005-6 Banta Studio

Presidente Intercontinental, Cancun and Cozumel, Mexico 2000-4 Laurence Lee Associates, Los Angeles, CA

Sheraton San Diego Hotel & Marina, San Diego, CA

Hard Rock Hotel Casino Seminole, Tampa, FL and Hollywood, FL

Kapalua Bay Hotel, Maui, HI

Ritz-Carlton, Pasadena, CA

Tropicana Hotel Casino, Las Vegas, NV

Nine, detail (left and right page)

john carr

My work is generally concerned with provoking thought and inspiring people to question the status quo. Graphic images have unparalleled access to consciousness/ subconsciousness, and I often use humor as a foot in that door. The various pieces in this installation are intended to transmit reflective and transformative energies as one contemplates his/her role in our contemporary political climate. I had the pleasure of working with master sculptor Mike Russek of 1028 Designs for the fabrication of the inlays and structure.

Because We Care, (installation views, these pages plus following pages)

Panel 1 - The Time Has Come, inlaid acrylic sheet , 46 x 22 in each

Panel 2 - TLC, Inlaid acrylic sheet, 46 x 22 in each

Panel 3 - Right Hand, screen print and stencil on acrylic sheet,96 x 48 in

Panel 4 - Smile!, screen print and stencil on acrylic sheet,96 x 48 in

Panel 5 - Left Hand, screen print and stencil on acrylic sheet,96 x 48 in

Interior - Toilet with mirror acrylic and stenciled toilet paper

2010

john carr In the 21st century, the natural growth of living things is no longer to be taken for granted. GMO’s (Genetically Modified Organisms), meaning organisms whose DNA structure has been altered by genetic scientists and engineers, are finding their way into every aspect of global agriculture, and thus into the bodies of any creature who consumes them. The altered genes, once released into the environment, spread uncontrollably and have a wide range of negative consequences.

GROW G ROW Genetic engineers claim to be making the alterations in the name of progress, but in reality the profit motive is behind this dangerous new industrial enterprise. GMO’s have been linked to cancer, higher infant mortality rates and lower fertility rates, leading some observers to speculate about a stealth eugenics aspect of the technology.

No GMO, etched anodized aluminum,12 x 24 in,2010

The intention of these pieces is to raise awareness about GMO’s and to promote organic agriculture and a moratorium on GMO agriculture.

Thanks to Mike Russek and Todd Moyer for technical assistance on these pieces.

Baby, etched anodized aluminum,12 x 24 in, 2010

JOHN CARR EDUCATION 1998-9 DEGREE, School of Visual Arts, New York, NY SELECTED GROUP EXHIBITIONS 2010 THC ExposĂŠ, Convention Center, Los Angeles, CA

Pedals & Prints, Crewest Gallery, Los Angeles, CA

Ode to the Rat Pack, Boyd Street, Los Angeles, CA

Art Against Empire, Los Angeles Contemporary Exhibitions, Hollywood, CA Lightning in a Bottle, Irvine, CA 2009 Anti Police Brutality Show, Los Angeles, CA (Curator and Artist)

Yo! What Happened to Peace?, House of Love and Dissent, Rome, Italy

Top of the Dome, Crewest Gallery, Los Angeles, CA

Funk Rumble, Chinatown Plaza, Los Angeles, CA

POVevolving One Year Anniversary Show, POV Gallery, Los Angeles, CA 2008 LA vs. WAR, Los Angeles, CA (Curator and Artist), Create Fixate, Los Angeles, CA

Art is a Hammer / We the People Festival, Los Angeles, CA (Curator and Artist)

Yo! What Happened to Peace?, Jack Hanley Gallery, New York, NY; Ogilvy & Mather,

New York, NY; Ecatepec, Mexico; Electric Picnic Festival, Stradbally, Ireland; Chora

Prints, Metabolic Studio, Los Angeles, CA (Curator and Artist)

Just How Does A Patriot Act?, Orange County Center for Contemporary Art,

Santa Ana, CA

Reproduce & Revolt, Crewest Gallery, Los Angeles, CA 2007 Yo! What Happened to Peace?, Imix Bookstore, Los Angeles, CA; House of Love and

Dissent, Rome, Italy; Mr. Ego, Brussels, Belgium; The Foundry, London, England;

Kulturhuset, Stockholm, Sweden; Rage Against the Machine show, WI;

Sonic Entrance, Meltdown Comics, Los Angeles, CA; Propaganda III, Art Hotel,

San Francisco, CA (Curator and Artist)

From LA With Love, A+D Museum, Los Angeles, CA 2006 Yo! What Happened to Peace?, Binary Mine, Chicago, IL (Curator and Artist)

Create Fixate, Los Angeles, CA

Portal Potties, Coachella Festival, Indio, CA 2005 America vs. America, Artist Base Klink, Reykjavic, Iceland (Curator and Artist)

Yo! What Happened to Peace?, Leoncavallo, Milan, Italy and Parco Museum, Tokyo,

Japan (Curator and Artist)

Trashed, Coachella Festival, Indio, CA

Six Degrees Festival, Los Angeles, CA (Curator and Artist) 2004 Yo! What Happened to Peace?, Transport Gallery, Los Angeles, CA; Punch Gallery, San

Francisco, CA; Zeitgeist Gallery, Cambridge, MA, Stay Gold Gallery, Brooklyn, NY;

Provisions Library, Washington DC (Curator and Artist) 2003 Create Fixate, Los Angeles, CA

Yo! What Happened to Peace?, CWC Gallery, Tokyo, Japan (Curator and Artist)

kendell carter

For the exhibition MOVE, I continue my investigation of the relationship between casual and formal culture. I wanted to create a “living� space and works that generate a context for nontraditional living activity.

With the recognition that studio activity can be mediated and validated by the gallery context, my aim is to generate an art experience that can alter perception through my transformations of the domestic environment. I am particularly interested in the human activity of capturing and arranging visual information and how that activity shapes perceptions of normalcy or abnormality.

Opposite page, Kendell Carter, installation view, 2010 This page, Drip Painting, Aerosol and shoelace on canvas,59 x 43.5 in,2010

DJ,5 pairs of Copper plated Timberland boots,Dimensions variable,2010 Blue Collar Meets Blue Blood (Tall), Wood and paint,50 x 99 in,2007-2010

Marks series, installation view, clockwise leftmost painting first: Untitled Marks (Normal), Enamel on Durlar,38 x 27 in,2010 Untitled Marks (Violet Mark), Latex and glitter on Durlar,38 x 27 in, 2010 Untitled Marks (Stripes), Aerosol on Durlar,38 x 27 in,2010 Untitled Marks (Multi-colored Mark), Latex and glitter on Durlar,38 x 27 in,2010 Untitled Marks (Drips), Aerosol on Durlar,38 x 27 in, 2010 Untitled Marks (Boundry Crossing), Watercolor on Duralar,38 x 27 in,2010 Marks Captured‌Marks Arranged, Aerosol and tape on plastic,59 x 33 x 2 in,2010

Madona & Child, Ink on Duraleen, 17.5 x 14.5 in, 2008

Kangol Chandelier, Kangol bucket hats, polished stainless steel bowls, light fixtures, 25 watt half chrome light bulbs, Dimensions variable, 2007

Milkcrate Stool, Bronze, fabric, wood, 17 x 22 x 12 in, 2008

Move (installation view), Interior latex paint on canvas and Knoll couch, 60 x 216 in, 2010

kendell carter For the exhibition GROW, I am interested in the counter side of growth. I am interested in making difficult conscience decisions and meaningful sacrifices in order to grow.

I am looking at choosing death as a necessary aspect of the growth process. I am looking at the death of a quest for a kind of normalcy. I am investigating the process of killing off aspects of reality in order to grow.

Three the Hard Way, Bronze, gold rope chain, upholstery, paint on Duraleen,2010

G ROW GROW

KENDELL M. CARTER EDUCATION 2007 MFA, Sculpture and Public Art, California State University, Long Beach 2000 Art Center College of Design, Environmental Design 1994 The Atlanta College of Art, BFA SELECTED SOLO EXHIBITIONS 2009 Changing Room, Sandroni Rey, Los Angeles, CA 2008 Common Ground, Monique Meloche Gallery, Chicago, IL 2007 American Traditions, Mark Moore Gallery, Los Angeles, CA 2007 Kendell Carter, Finesilver Gallery, Houston, TX 2007 Hommie Adjacent, Hammer Special Project, UCLA Hammer Museum, Los Angeles, CA 2006-07 Hommie/Homey, Hammer Project Exhibition and Residency, UCLA Hammer Museum,

Los Angeles, CA SELECTED GROUP EXHIBITIONS 2010 OsCene, Laguna Art Museum, Laguna Beach, CA 2010 In Bed Together, Royal/T, Los Angeles, CA 2008 Off the Wall: From Vandalism to Urban Art, Wilde Gallery, Berlin 2008 LA v.s. WAR, Monique Meloche Gallery, Los Angeles, CA 2007 Blacks In and Out of the Box, California African-American Museum, Los Angeles, CA 2007 Can’t Get Enough, Angles Gate Cultural Center, San Pedro, CA 2005 Save the Youth of America Summer Tour 2005, De Haas Gallery, London, England;

Takt Projeck Traun, Berlin, Germany; MAMA Gallery, Rotterdam, Holland; Central

Antwerpen, Antwerp, Belgium; Phoenix Park, Dublin, Ireland 2005 Insights 2005, California State University, Long Beach, University Art Museum, Long

Beach, CA 2003 Intermedia, California State University, Long Beach, Werby Gallery, Long Beach, CA 2002 Ghetto Fabulous, Armory Center for the Arts, Pasadena, CA 1997 Atlanta Biennial, Nexus Contemporary Arts Center, Atlanta, GA 1997 Center Space, Robert W. Woodruff Arts Center, Atlanta, GA 1994 New Blues, Contemporary Arts Center, New Orleans, LA SELECTED AWARDS 2004/05 California State University, Long Beach, Institutional Grant

1997 Silk 97, Best In Show Booth Design Award with Winward International, Las Vegas

Convention Center, Las Vegas, NV 1996 Silk 96, Best In Show Booth Design Award with Winward International, Las Vegas

Convention Center, Las Vegas, NV and Dallas Convention Center, Dallas, TX

Three the Hard Way, detail (top and bottom)

erica cho Through chance, play, a sense of mystery and even a puzzle, I am fascinated by how games hold the power to innocently and yet deeply grip people, calm them, excite them, and possibly heal. By delineating a sacred, poetic space for a ritual participation in art, The Summer: A Reading for Los Angeles, is an installation of healing for the entire City of Los Angeles through the mysteriously ordered, ludic structure of a tarot card game.

The Summer: A Reading for Los Angeles, detail

GROW G ROW

ERICA CHO EDUCATION 2000 MFA Studio Art, University of California at Irvine 1997 BFA Art, Pennsylvania State University SELECTED SOLO EXHIBITIONS 2010 The Summer, Gossamer Hall, Los Angeles, CA 2009 Monster, Gossamer Hall, Los Angeles, CA 2005 Pickpocket, Hudson D, Walker Gallery, Provincetown, MA SELECTED GROUP EXHIBITIONS 2009 Artist Talk: A Screening with Erica Cho, Bruce Yonemoto and Jesser Lerner, Japanese

American National Museum, Los Angeles, CA

Los Angeles Asia Pacific Film Festival, Los Angeles, CA

Fusion: Los Angeles LGBT People of Color Film Festival, Los Angeles, CA

Still Present Pasts, Wing Luke Museum Seattle, WA; Eulim Art Museum of Goyang,

Seoul, Korea; Kookmin University Gallery, Seoul, Korea; Queens Museum of Art,

Queens, New York; Intermedia Arts, Minneapolis, MN; LA Artcore, Los Angeles, CA 2008 Twenty Years Ago Today, Japanese American National Museum, Los Angeles, CA

Artistas independientes, Optica, Festival Internacional de V铆deo Arte, Gijon, Spain,

Asian American Film, Brooklyn Museum of Art, Brooklyn, New York 2007 Installation, National Museum of Women in the Arts, Washington, D.C.

Festival Expresi贸n en Corto International Film Festival, San Miguel, Mexico, 2006 OUTFEST: Los Angeles Gay and Lesbian Film Festival, Los Angeles, CA

The London Gay and Lesbian Film Festival, London, ENGLAND, UK,

VC Film Fest: Los Angeles Asian Pacific Film & Video Festival, Los Angeles, CA , 2005 Dreamscapes, University Art Gallery, Irvine, CA

Group Exhibition, Shreve, Crump and Lowe Gallery, Boston, MA

Fusion: The Los Angeles LGBT People of Color Film Festival, Barnsdall Art Park,

Los Angeles, CA

Women of Color Film Festival, Pacific Film Archive, Berkeley, CA 2004 Contemporaries, Redcat Gallery, Walt Disney Concert Hall, Los Angeles, CA 2002 Not in Our Name: Art Speaks Against the War, The Palace, Los Angeles, CA 2000 Spiritual Practices: Rituals, Icons & Faiths, Korean American Museum, Los Angeles, CA

New Media Visionaries, Side Streets Projects, Los Angeles, CA

QUEST, Highways Performance Space, Santa Monica, CA 1997 Queer in the Year 2000,College Art Association, Parsons School of Design, New York The Summer: A Reading for Los Angeles, Painted wood table, black velvet cloths, croquet mallet, croquet wand,yellow croquet ball, acrylic on silkscreen wooden tarot cards, 2010

ricardo duffy

Cleaning the Vortex (installation views both pages), mixed media installation, ceramic and glaze, paint, Mexican mask and costume over mannequin, vacuum cleaner, Dimensions variable, 2010

Art hyped up by big money being cleaned up by culture. Art that has no meaning and no functional value will end up back to whence it came - as a novelty item at best. Kitsch art is a parasitism whose sole function is to pacify the mind of an easily-deluded consumer.

Jaguar Revise, Acrylic on canvas,44 x 34 in, 1993

Otra Primavera, Oil on canvas,16 x 20 in, 2000

ricardo duffy

G ROW GROW

This page, Ricardo Duffy, installation view, 2010 Opposite page, Sphere of Consciousness, spring plants, table, chair, beer, book, 2010

The innocence of a child is bombarded by corporate gluttony, media over-stimulation, xenophobic social injustice and environmental abuse. We grow up being brainwashed into certain ideological beliefs and perceived “needs� pushed on us by family and institutions.

Creativity is often crushed and destroyed by established mores and the prevailing accepted knowledge of our current society.

Intellectual growth for me involves contemplating the world around me and taking the time to expose myself to new ideas. These opportunities for growth can spring from dialog with friends or strangers, by reading, watching the news or a movie, searching through the Internet, or listening to new music.

Creative ideas also grow from withdrawing from the busy chaos of the world into a peaceful zone to observe nature, be it through surfing, or watching the birds in my own backyard, resting in my hammock, pondering the stars at night or studying some other natural phenomenon.

As children we cocoon into comfort zones, hide in a tree house, make a fort out of boxes, or tents out of sheets and are free to imagine the possibilities and the impossible.

To me it is the laws of nature that control our true existence! Everything else is man-made and open to interpretation.

Real Looters, Acrylic, wood, photogenie, mixed media on canvas, 62 x 53 in, 1998

Curtain Raiser, Oil, acrylic, photoglicee, mixed media on canvas, 60 x 72 in, 1997

He Seduced Mother, acrylic, spray paint, pastel, mixed media on paper, 36 x 55 in, 1994

RICARDO DUFFY EDUCATION 1973-77 California State University at Fullerton 1972 Ventura College

Cleaning the Vortex, detail

SELECTED GROUP EXHIBITIONS 2008 Caras Vermos, corazones no sabemos/Faces Seen Hears Unknown: The Human

Landscape of Mexican Migration, UCLA Fowler Museum, Los Angeles, Ca 2006 TransFOURmations, 18th Street Arts Complex, Santa Monica, CA 2003 Just Another Poster, Crocker Art Museum, Sacramento, CA 2002 Lines of Sight, Sweeny Art Gallery, University of California, Riverside, CA 2000 Made in California 1900-2000, Los Angeles County Museum of Art, Los Angeles, CA 1998 Rock Your World, Centro Cultural Costarricense-Norteamericano, Costa Rica 1997 Attacking the Myths, Sparc Public Art Gallery, Social Public Art Resource Center,

Venice, CA 1996 Muertos de Gusto, The Minneapolis Institute of Arts, Minneapolis, MN

Chicano Expressions, Amerika Haus Berlin, U.S. Cultural Center, Berlin, Germany, and

Cit Du Livre, Aix-en-Provence, France, and Musée Du N. Monde, La Rochelle, France,

and Pretoria Arts Museum, Pretoria, South Africa 1995-6 Across the Street: Self-Help Graphics and Chicano Art in Los Angeles, Laguna Art

Museum, Laguna Beach, CA; Armand Hammer Museum, Los Angeles, CA;

Art Museum of South Texas, Corpus Christi, Texas; and Anchorage Museum of

History and Art, Anchorage, Alaska 1994 Muertos de Gusto, The Heard Museum, Phoenix, Arizona and The Mexican Museum,

San Francisco, CA

Fronteras Sin Frontreras, Museo de la Ex-Aduana, Ciudad Juárez, Mexico, and Centro

Cultural, Tijuana, Mexico, and Casa de la Cultura, Nuevo Laredo, Mexico 1993 Art Attack: the Paradox of Reality, El Pueblo Gallery, Olvera Street, Los Angeles, CA 1992 Día de los Muertos ‘92: 500 Years of Resistance, Mexican Fine Arts Center, Museum,

Chicago, Illinois

Native American Perspective: 500 Years of Survival, Angels Gate Cultural Center,

San Pedro, CA

Amor al Arte, Museo Chicano, Museum of Hispanic Culture and Art, Phoenix, AZ

Images of the Border, Mexican Art Institution, Centro Cultural, Tijuana, Mexico 1992 500 Years of Pochismo: Quincentennial Chicano Perspectives, Self-Help Graphics,

East Los Angeles, CA COMMISSIONS 2005 East Los Angeles Civic Center Site Commission, Los Angeles County, CA 2004 Florence Metro Blue Line Station Commission, Los Angeles, CA 2001 Inglewood Parking Plaza Commission, Los Angeles County, CA 2000 Los Angeles World Airport Mosaic Floor Commission, Los Angeles, CA 1998 Ontario International Airport Tile Murals Commission, Ontario, CA 1996 City of Los Angeles Historical Site Commission, Lincoln Heights Library, Los Angeles, CA

Sphere of Consciousness, detail

didier hess

GROW G ROW

Live Forever V.01, laser cut foiled paper, 2010

Live Forever is a project initiated to refine a wallmounted environmental monitoring system for a fire station in Baldwin Village.

We began the project wanting to create a living wall but quickly found that no technologies would meet the guidelines that we needed to adhere to for municipal work, so we produced an artwork that mimicked the qualities that we wanted to inhabit the site and to communicate to the community that the fire station - as well as everything else around them - was alive and functioning together with the rest of the infrastructures of the city as a large organism.

Life, health, survival. Instead of plants being green

or brown, flowering or shriveling, our sculpture is a natural reflection of the health of the environment that often goes unnoticed when living in an urban setting. This system replaces the experience of living in harmony with “nature� as it was once experienced by people in the countryside or in wilder places with those indicators that we recognize in an urban environment: oxidation, corrosion, and artificial illumination. The completed piece will light up at night in an animated graphic display of the trending of moisture in the air as it has been sampled by our piece on site over the past year.

Opposite page, Live Forever, laser cut brass, laser cut foiled paper, dimensions variable, 2010

These objects are the physical documentation of developing, or growing, the final sculpture of Live Forever.

V.01 contains the genesis of the Live Forever project, origami folded systematically until the final form was produced.

V.02 are a series of different approaches to cutting and assembly of vine and flower system.

V.03 systematic constructions in paper exploring how the vine system can interact with different architectural forms.

DIDIER HESS SELECTED PERMANENT PUBLIC INSTALLATIONS 2011 Wilmington Port Park Bridges, Responsive light installation on four pedestrian

bridges, Port of Los Angeles, CA, 2011 101 Overpass Bridges Public Art Commission, Landmark public art installations on two

bridges, with Ned Kahn, Los Angeles, CA, 2010 Baldwin Hills Fire Station 94, Los Angeles, CA, 2008 East Los Angeles Government Center Plaza, with Gruen and Associates Architects

East Los Angeles, CA (Didier) 2007 Acute Care Tower Waterwall, with Gary Goldberg and Associates Architects, Glendale

Memorial Medical Center, Glendale, CA (Didier) 2004 Monumental Fish in Belvedere Park, with Rude Calderon East Los Angeles, CA (Didier) SELECTED COMMISSIONS 2010 San Jose International Airpot, with Stephen Glassman, San Jose, CA, 2009 String Theory, Pomona College, Pomona, CA 2007 HouseSwarming, ArtCenter, with Marcos Lutyens, Pasadena, CA, 2005 Stainless Sweep, Hollywood Community Housing Co, Hollywood, CA (Didier) 2004 Nadine Memorial Fountain, Rochester Civic Theater Rochester, MN (Didier)

These pages, Live Forever, various installation views

ART INSTALLATIONS/ PERFORMANCES 2009 Ukendt Beach, Instant Herlev Institute, Copenhagen, Denmark

Shangri L.A. “Node Incubations 2004-2009”, 18th Street Arts Center, Santa Monica, CA 2008 The Amazing Mental Scope, GLOW, with Marcos Lutyens, Santa Monica, CA, 2007 Liquid Sky, PS1 / MoMA, installation by Ball-Nogues, New York, NY, 2006 Urchin, with Max Presnell and Marcos Lutyens, Los Angeles, CA,

Here There Be Monsters, Materials & Applications, Los Angeles, CA 2005 Not a Cornfield, Consultant for 33 acre living sculpture by Lauren Bon, Los Angeles, CA

Second Skin, Video graphics hypnosis performance with Marcos Lutyens, Fierce Festval,

Birmingham, England (Hess) 2004 SHADE, GardenLAB Experiment, Art Center College of Design Wind Tunnel Exhibition

Hall, Pasadena, CA, 2003 Unseen, with Marcos Lutyens, Cal Poly, San Luis Obispo, CA, (Hess) 2002 Liquid Facade, Materials & Applications Groundbreaking Installation, M&A,

Los Angles, CA, (Didier) 1996 Robots & Knowbots, Technician, Amorphic Robot Works Robotic Opera, Arts Futura,

Circulo de Bellas Artes, Madrid, Spain (Didier) 1992 SFMOMA groundbreaking, Technician, Survival Research Labs, San Francisco, CA (Hess)

kimmy kim I assembled this display of hundreds of beauty products to show how women are conditioned to see themselves and change their appearance to acquiesce to societal pressures. My work is now a monumental protest of the ways in which pop culture oppresses women.

This larger than life doll figure is made up of those very products that, as instruments of social and sexual economies, impede women’s ability to discover their true selves.

Self Portrayal, detail

KIMMY KIM EDUCATION 1996 MFA, San Francisco Art Institute 1993 BFA, San Francisco Art Institute SELECTED GROUP EXHIBITIONS 2006 The Far East, Bamboo Lane Gallery, Los Angeles, CA 1999-00 Transcending Limits: Moving Beyond Mainstream and Margin, Art Museum of

Southeast Texas, Beaumont, TX; traveled statewide 1999 The New World of Suzie Wong, Gallery 207, West Hollywood, CA

Spring Fever, Korean Cultural Center, Los Angeles, CA and Mexican Cultural Institute,

Los Angeles, CA

Scene ’97: Contemporary Korean American Artists, Korean American Museum,

Los Angeles, CA 1999 Passing Lane, Andrew Shire Gallery, Los Angeles, CA 1998 One Night Stand 6, Farmer’s Daughter Motel, Los Angeles, CA 1996 Site First Annual National Competition, Loyola Law School, Los Angeles, CA

21st Annual Multimedia Juried Show, The Creative Art Center Gallery, Burbank, CA

San Francisco Art Institute MFA Graduate Exhibition, Fort Mason Center,

San Francisco, CA 1995 Toy, Show N Tell Gallery, San Francisco, CA 1995 Fourth Annual Juried Luggage Show, Luggage Store Gallery, San Francisco, CA

Self Portrayal, mixed media & Cosmetics, 75 x 4 x 4 in, 2010

betty lee

At bedtime, the body may be willing to rest, to ease into a night of sleep. The mind, however, can operate at another level.

We live in times when it’s easy to immerse ourselves in the chaotic din of everyday life. Much of that din comes through a media filter –the news, television, the movie industry, the Internet. We handle information in a range between bombardment and absorption, and we interact by mentally tuning in and tuning out.

It seems natural at night, when everything seems to slow down and recede, that our minds enter that prime space where our thinking moves away from the nattering. During moments like these, when we want to sleep, we instead become our smartest selves.

Smartest Self, installation views (both pages), fabric, cardboard, polyester fill, projection,Suspended screens: 108 x 84 in,Bed: 96 x 126 in,2010

betty lee These photographs were taken in three continents; they are small, and reflect vague landscapes and anonymous figures. They are miniature, pulsing images which look like thriving brain matter ~ a visual allusion to thoughts and ideas. Some seem much like travel pictures, while others are more banal. The elements of a main street in one part of the world, for example, can feel like many main streets in the Midwest. A staircase in a Chinese home might well be anywhere, given its basic construction.

However, the sighting of a Chinese restaurant in Perugia, Italy, or a Jewish deli in Guangzhou, China, brings to mind the notion of migration

GROW G ROW as travel. The motivation for moving to another part of the world is not known in every case, but likely reasons are thought to be freedom, survival, livelihood, and adventure. “Adventurers” may be welcomed in their new communities. The spirit of attempting something new is a positive one, but the people who place themselves in their new locations for reasons of freedom, survival and livelihood, are often seen as foreigners, interlopers and itinerants. For these persons, the idea of home ~ whether it is the family home, home country or even where one “feels at home” ~ is precarious.

Postcards from Home, both pages, video (03:12), 2010

BETTY LEE EDUCATION 1985 MFA, California Institute of the Arts, Valencia, California 1971 BA, English, University of Illinois, Urbana, Illinois, COMMISSIONS AND PROJECTS 2003 Great Walls Unlimited: Neighborhood Pride, mural commission, Social and Public Art

Resource Center, Venice, CA, installed in Chinatown, Los Angeles, CA 2001-3 Finding Family Stories Arts Partnership Project, exhibition, educational and public

programs with The Japanese American National Museum, The California African

American Museum, The Chinese American Museum and Self-Help Graphics, Los

Angeles, CA SOLO EXHIBITIONS 1995 Authentic History, MultiCultural Center, University of California, Santa Barbara, CA 1991 Contemplation of the Journey Home, Los Angeles Center for Photographic Studies,

Los Angeles, CA

Double Edge, New Image Gallery, James Madison University, Harrisonburg, VA TWO-PERSON EXHIBITIONS 1991 Contemplation of the Journey Home, SF Camerawork, San Francisco, CA 1989 It’s the Law, Self-Help Graphics/Galeria Otra Vez, East Los Angeles, CA SELECTED GROUP EXHIBITIONS 2006 Han Zi Reinvented: The Rhythm of Chinese Script, Main Art Gallery, California State

University, Fullerton, CA 2000 Made in California: Art, Image, and Identity, 1900-2000, Los Angeles County Museum

of Art, Los Angeles, CA

On Gold Mountain: A Chinese American Experience, Autry Museum of Western

Heritage, Los Angeles, CA; Smithsonian Museum, Washington DC 1999 Igniting the Edge: Forging New Geographies, Categories & Identities, El Pueblo

Gallery, Los Angeles, CA 1998 COLA: 1997-98 Individual Artists Grants, Los Angeles Municipal Art Gallery Barnsdall

Art Park, Los Angeles, CA 1997 Kimchi Xtravaganza, Korean American Museum, Los Angeles, CA Cold War Story 1996 Converging Cultures, Skirball Museum, Skirball Cultural Center, Los Angeles, CA 1995 Photography Los Angeles Now, Los Angeles County Museum of Art Los Angeles, CA 1994 RE: SOLUTION, Los Angeles Center for Photographic Studies, Los Angeles,CA 1993 The Autobiography of Difference: Diversity and the Asian American Experience,

Side Street Projects Gallery, Santa Monica, CA 1992 And He Was Looking for Asia: Alternatives to the Story of Christopher Columbus

Today, Asian American Arts Centre, New York, New York 1991 Treasure in the House: A Festival Celebrating Asian-Pacific American Art in Los

Angeles, Highways Performance Space, Santa Monica, CA

dominique moody

GROW G ROW

Aiye Omode (Earth Child), mixed media assemblage, dimensions variable, 2010

My eyes speak to the Art of life as an experience through which the constructive form of assemblage thought and the collage fragments of dreams are intertwined. From this perspective, I am inspired by stories of people, experiences of places and the mysteries of nature. I developed my skills by looking at the worn texture of an object and how it tells its story.

Throughout my life, I’ve been in search of places where my creative spirit and my day to day practices of life could coexist. In this pursuit of my happiness I’ve embraced my “nomadism” as a way of seeing, living and creating. In the process, I’ve conjured up images by articulating my challenges with altered eyesight, bringing my artistic vision into a heightened level of creative intuition.

Reflecting the role of an urban archeologist in search of answers to the mysteries of life, I find my materials by scavenging the streets and flea markets for things that many would consider “trash”. From the poetic to political, I collage layers of text and old photographs onto the surfaces of weathered wood and metal, constructing components into architectural forms as extensions of the figure form.

These elements are intertwined to give these structures an organic narrative iconography. As I see it, I’ve created a form of language, which evokes a dialogue inviting a response to call upon the viewers own storytelling and thus, expand the vocabulary of our collective “mother tongues”, to visually speak to the Art of Living.

Aiye Omode (Earth Child), detail DOMINIQUE MOODY EDUCATION 1986-91 BA, University of California, Berkeley 1974-75 Pratt Institute, Brooklyn, New York 1970-72 Philadelphia College of Ar t, Philadelphia, Pennsylvania, SOLO EXHIBITIONS 2004 Sweat Equity: In Search of Mother Home, House Installation, curator Dominique

Moody, at Project Row Houses, Houston, Texas, April-September 1996 Into the Dream Box, Watts Towers Art Center, Los Angeles, CA SELECTED EXHIBITIONS 2009 An Idea Called Tomorrow, California African American Museum, Los Angeles, CA

The Watts Towers: 50 Years of Inspiring Art, Watts Towers Arts Center, City of Los

Angeles, Department of Cultural Affairs, Watts, CA

Middlebrook, Moody, Massenburg, 2nd City Council Art Gallery+ Performance Space,

Long Beach, CA

Distinctly Los Angeles, An African American Perspective, M. Hanks Gallery Santa

Monica, CA 2008 Common Ground, Group Exhibition, California African American Museum,

Los Angeles, CA 2006 International Assemblage Artist Exhibition, curator Pablo von Lichtenberg, GALLERY

twenty-four, Berlin, Germany

Free Spirits: The Art of Charles Dickson & Dominique Moody, Craft and Folk Art

Museum Los Angeles, CA 2005 Shared Visions, Eye Care Center, Southern California College of Optometry,

Fullerton, CA

Celebrating Heritage: Art and the Chris Weber Collection, Crocker Art Museum,

Sacramento, CA

Fade: African American Artists in Los Angeles, A Survey Exhibition 1990-2003,

Luckman Fine Arts Complex, California State University, Los Angeles, CA 2004 Sweat Equity: In Search of Mother Home, House Installation, curator Dominique

Moody, Project Row Houses, Houston, TX

Still Listening Exhibition/Celebrating 150 years of Jewish Family Services, Skirball

Cultural Center Los Angeles, CA, January 2003 Finding Family Stories, Arts Partnership Project Exhibitions: Japanese American

National Museum; Chinese American Museum, El Pueblo Gallery; Self Help Graphics

Art; California African American Museum, Los Angeles, CA 2001 California Community Foundation’s 2001 Visual Arts Initiative, Reception, Getty

Center, Los Angeles, CA 1997 Perspectives in African-American Art, Seagram’s Commission Reception at California

African-American Museum, Los Angeles, CA 1993 Perceptions II, The Lighthouse for the Blind, San Francisco, CA 1980 San Francisco Art Commission Exhibition, City Hall, San Francisco, CA

hushidar mortezaie Within the package of Mega branding and its Homogenized beauty standards, I created a miniature universe symbolic of Healing and Diversity.

From an inner core of glass pipes and sedimentary rocks, I sprouted a LifeEnforced crust of crystals.

The majority of “stones” that sprang forth were milky and rubbery which normally exhibit a weak bonding power. However amidst this geological microcosm some solid crystals developed: including harmonious Quartz, detoxifying amber, and calming amethyst.

GROW G ROW Losing many friends in the past to the entrapments of the fashion and the impossible ideals of “Holywood”, I decided to make an uncertain piece that reflects the chance that a Shard of Divinity, a scrap of singular beauty can flourish.

The rocks continue to grow.

Shard of Divinity, both pages, mixed media, 9.5 x 5.5 x 3.5 in, 2010

HUSHIDAR MORTEZAIE EDUCATION 1996 Fashion Institute of Technology 1995 Parsons School of Design 1994 BFA, University of California, Berkeley SELECTED EXHIBITIONS AND PRESENTATIONS 2010 Sex and the City 2, hand-painted custom created leather corsette worn by

Sarah Jessica Parker featured in the motion picture 2009 Traces Of Being: Iran in the Passage of Memories, Morono Kiang Gallery,

Los Angeles, CA

Pandemic, Overtones Gallery, Los Angeles, CA 2007 The New Look: The New Iranian Aesthetic, I.A.A.B. Panel Presentation, New York

University, NY 2005 Welcome, Kashya Hildebrand Gallery, New York, NY 2004 Tonight We Are Iranians, Tanya Bonakdar Gallery, New York, NY 2003 Paris Is Burning, Spring 2004 runway presentation, MAO space, New York, NY 2002 Theatre of the Reflecting Pool, costume design-multi-media performance on Forough

Farrokhzad, City University of New York, NY

Illusions of Grandeur, Fall 2003 runway presentation, MAO Space, New York, NY

Icons, Spring 2003 runway presentation, MAO Space-5th Avenue, New York, NY 2001 Roses from the Gutter, Spring 2002 runway presentation, Ukranian National Home,

New York, NY 2000 Sex In the City, television show, episode 43, season 3: lace print Persian miniature

gown worn by Sarah Jessica Parker

The Persian Collection, Fall 2001 runway presentation, Arude Gallery Space,

New York, NY 1999 Fight Club, motion picture: photo print tops worn by Brad Pitt in the film SELECTED BIBLIOGRAPHY 2009 NPR interview with Madeleine Brand, “Contemporary Iranian Art Takes Off in L.A.” 2005 “Tehrani Street Fashion,” Iranian.com 2004 “From Happy Meals to Haute Hejabs“, Bidoun Magazine Issue 1 2003 “A Different Drummer,” W Magazine

“Madonna wears several pieces for European tour (editorial),” Women’s Wear Daily

“Michael and Hushi,” Nylon Magazine 2002 “New York’s Next Wave,” Paper Magazine 2001 “Fashion Frenzy,” W magazine 2001 “Ones to Watch,” W Magazine

“Kaffia Society,” Vogue U.K.

“Generation Terrorists,” Neo 2

“The Guns and Ammo Club,” Women’s Wear Daily

amitis motevalli

GROW G ROW

Ghusl, photograph, glass, keys, string, dimensions variable, 2010

Ghusl is the ritual washing performed in Islam after any act of uncleanliness, for example, menstruation, masturbation, sex, childbirth, death or touching a corpse. It’s washing away the past and bringing in the new. In some rituals, pre-dating Islam, there is a Ghusl of the Chehil Kelied (Forty Keys). The Chehil Kelied is a hand-sized divination bowl usually made of brass and copper, but sometimes gold and alloy. The Chehil

Kelied is inscribed with prayers, geometric grids as guides for repetitions of prayers and astrological charts with 40 keys attached. The Chehil Kelied ritual is performed in a ghusl, where there is a wish that one wants granted. The forty keys are symbols of the keys that open up doors and unblock the path to your wish. Out of bowls I create a reminiscence of the hoscheh (water pond which dishes, clothes, grandchildren are washed) in my grandmother Taiba’s home. I lay beneath this water, present and absent, purifying, wishing, growing...

AMITIS MOTEVALLI EDUCATION 1995 BA, San Francisco State University, San Francisco, CA 1998 MFA, Claremont Graduate University, Claremont, CA SOLO EXHIBITIONS 2008 Threshold of the Innocents and Martyred (Harameh Massomeen va Shohadha),

18th Street Art Center, Santa Monica, CA 2006 Right; Rite; Write Piece, Performance, Los Angeles Contemporary Exhibitions,

Los Angeles, CA 2005 Re-Aiming the Canon, Slanguge, Los Angeles, CA 2002 Stop it at it’s Source, Deep River Gallery, Los Angeles, CA

Ghusl, detail views

SELECTED GROUP EXHIBITIONS 2010 Here/There, Then/Now, Aaran Gallery, Teheran, Iran

Art Dubai, Aaran Gallery, Dubai, United Arab Emirates

Iran diVerso Black or White, Verso Artecontemporanea, Turin, Italy 2009 Staybite: Modes of Operation, The University of Texas at Dallas

The Feminist Art Project Bus Tour, Los Angeles, CA

Tan Lejos de Dios…, UNAM, Mexico City

Traces of Being, Iran in the Passage of Memories, Morono Kiang Gallery,

Los Angeles, CA 2008 A Guide to Democracy in America, Creative Time Project

The Audacity of Desperation, Chicago, New York and Los Angeles

California Biennal, Orange County Museum of Art, CA

Chora Collection, Farmlab/La Casa de Tunnel, Los Angeles, CA 2007 (Un) Holy Selves, Peter Jones Gallery, Chicago, IL

Voices of Resistance, Around the Coyote, Chicago, IL

And That Was How it Ended, McNish Gallery, Oxnard City College, CA

Migration Study, Phanthom Gallery, Los Angeles, CA

First Kiss, Monte Vista Projects, Los Angeles, CA

No Human Being is Illegal, CSPG at Self Help Graphics, Los Angeles, CA 2006 Sexta Feria del Libro en el Zocalo, Mexico City, Mexico

Does Religion Kill, 18th Street Gallery, Santa Monica, CA

Irrational 5, Performances, Track16, Santa Monica, CA 2004 Fade, Luckman Gallery, CSU Los Angeles, CA

I Am a Curator, Chisenhale, Gallery, London, UK

Revolt, She Said, Forde, Switzerland 2003 Enter Intercessor, RAID Projects, Los Angeles, CA

Democracy When, the Project and LA Contemporary Exhibitions, Los Angeles, CA 2002 Utopian Grids, Coagula Projects, Los Angeles, CA

New Trajectories in Street Influenced Art, ICU Art, Los Angeles, CA 2001 Overflowing, Track 16 Gallery, Santa Monica, CA

Tricky, Brewery Projects, Los Angeles, CA

camilo ontiveros

Gol (from the series Poor Games), painted rock, green carpet, speaker, and sound from USA vs Mexico soccer games, dimensions variable,2010

I remember growing up and playing with a rock. The game was to kick it along the sidewalk and not let it fall to the street. I thought I was the best player of the Mexican national team.

CAMILO ONTIVEROS EDUCATION BA, Visual Arts, University of California, San Diego MFA, UCLA Visual Arts Program SOLO EXHIBITIONS 2010 Curtains: a film in three parts, in collaboration with Michelle Dizon, Vargas Museum

Project Room, Manila, Philippines 2009 I Want Your Washing Machine, Steve Turner Contemporary, Los Angeles, CA

Untitled (From the Series Deportables), Armory Center for the Arts, Pasadena, CA

Gol (from the series Poor Games), detail views

SELECTED GROUP EXHIBITIONS 2010 Never Very Far Apart, Curated by Ryan Inouye, REDCAT, Los Angeles, CA

ARCO Madrid, Madrid, Spain, Illy Prize 2009 I AM A CITIZEN, Imprenta, McArthur Park, Los Angeles, CA

Soundscapes, Gallery 727, Los Angeles, CA 2008 BITCH: The Piñata Series with DoEAT Collective, Wight Biennial, Los Angeles, CA

Exchange/Alteration, CMKY Festival, Boulder Museum Contemporary Art, Boulder, CO

Cornucopia, Parientes de Ocacion, Curated by Javier Ramirez Limon, CECUT, Tijuana

B.C., Mexico; Centro de la Imagen, Mexico City; Centro Fotográfico Manuel Álvarez

Bravo, Oaxaca, Mexico

CAUTION Project, National Museum of Mexican Art, Chicago 2007 It is Sweet to Play the Fool at Times by DoEAT, Sesto Senso, Bologna, Italy

CUBO Project (in collaboration with Felipe Zuñiga), Residency, Performance, and

exhibition, LACE, Los Angeles and Festival Entijuanarte 2007, CECUT, Tijuana,

B.C. Mexico 2006 Exchange/Alteration (in collaboration with Melanie Badalato) Fair Exchange: LA

County Fair, Pomona Museum, Pomona, CA and Festival Entijuanarte 2006, CECUT,

Tijuana, B.C., México 2005 Cure Hunger, Eat Poor People by DoEAT, TNT, San Diego Museum of Contemporary

Art, San Diego, CA

Surveying the Border, The Getty Center, Los Angeles, CA

Pollo Project Intervention/Performance by DoEAT, at Minuteman Rally, Naco, Arizona,

USA/Naco, Sonora, México

sarah perry

GROW G ROW

Nature wins and loses, moons wax and wane in the garden, and our growth as individuals and as a group is tracked from children’s chalkboards to the written word. These are some of the recurrent themes in my new pieces.

There are many ways into the largest sculpture, titled All The Way Down, an 8-foot tall stack of bibles capped with an Australopithecus Africanus skull cast. I think about man and his innate capacity as a mythmaker stranding us with our head in the clouds - dreaming of thunder and gods. Or pursuing the comfort of groupthink and ending up paving our way to hell with bibles. Still, we have an ability to be objective and try to understand the world around us and this too, is in our nature.

All the Way Down Australiopithicus Africanus skull cast, bronze, gold,copper, steel, ribbons, paints, mixed media, 93 x 27 x 24 in, 2009

On three child’s chalkboards from the early 1900’s, lunar images are carved (using dental picks).

Weight of the Moon depicts a fraction of the globe rolling into the field of view from above.

Breathless and inexorably approaching, silent as a sarcophagus - hovering on a child’s instrument of learning. We are a young species, possibly here only long enough to begin to probe at the darkness.

Callisto, scratched child’s chalkboard, 7.5 x 10.25 in, 2009

Weight of the Moon, scratched child’s chalkboard, 14 x 10 in, 2009

Sea of Cold, scratched child’s chalkboard, 6.75 x 4.5, 2009

Another Turning (plus detail view), Bird cage bottom, acrylic paint, watercolor, pencil, wire,feather, preserved beetle, patinas, nylon, sealants, 10 x 16.5 in, 2010

I Can’t Wait Until Your Gone (plus detail view), Clay pot, plant skeleton, found English house sparrow skull, sealants, 16 x 6 x 4 in, 2010

SARAH PERRY All the Way Down, detail

EDUCATION 1983 BFA, Otis Art Institute of Parsons School of Design, Los Angeles, CA SELECTED SOLO EXHIBITIONS 2009 Weight of the Moon, Lora Schlesinger Gallery, Santa Monica, CA 2007 The Bone and Bird Art of Joyce Cutler-Shaw and Sarah Perry, Fisher Gallery,

University of Southern California, Los Angeles, CA 2006 Caught From Below, Hunsaker/Schlesinger Gallery, Santa Monica, CA 2001 Pull of the Moon, Laband Art Gallery, Los Angeles, CA 1998 Natural Selection 1988-1998, Armory Center for the Arts, Pasadena, CA

Seeing in the Dark, Koplin Gallery, West Hollywood, CA 1987 Medusa and Hearts, Santa Monica College, Santa Monica, CA SELECTED GROUP EXHIBITIONS 2010 Big Names, Small Works-12 Artists Under 12 Inches, Scape Gallery, Corona Del Mar, CA 2009 Installations Inside/Out, Armory Center For The Arts, Pasadena, CA 2008 Endangered Species, Pete and Susan Barrett Art Gallery, Santa Monica, CA 2007 Multiple Vantage Points: Southern California Women Artists, 1980-2006, Los Angeles

Municipal Art Gallery, Los Angeles, CA 2006 Extreme Materials, Memorial Art Gallery, Rochester, NY 2004 Bioballistic, Los Angeles Municipal Art Gallery, Los Angeles, CA

Pontus Hulten Collection, Moderna Museet, Stockholm, Sweden 2003 Off the Wall, Armory Center For The Arts, Pasadena, CA 2002 Sammlung Rosenkranz, Von Der Heydt-Museum Wuppertal, Germany 2001 Cola, Skirball Cultural Center, Los Angeles, CA 2000 Representing L.A., Pictorial Currents In Contemporary Southern California Art,

Frye Art Museum, Seattle, WA

The Right To Assemble, California State University Los Angeles Fine Arts Gallery,

Los Angeles, CA 1997 Ex Libris, Riverside Art Museum, Riverside, CA 1996 L.A. Current: The Female Perspective, Hammer Museum of Art, Los Angeles, CA

Childrens Books By Artists, Printed Matter, New York, NY

History of the Cup, Museum of Contemporary Art & Design, San Jose, Costa Rica 1993 Dark Suburban Fantasies, Art Institute of Southern California, Laguna Beach, CA 1990 12th International Biennial of Drawings, Sculptural Drawings Exhibit, Museum of

Modern Art of Rijeka, Yugoslavia 1989 Collecting on a Shoestring: Jeri Coates, Long Beach Museum of Art, Long Beach, CA 1985 Menagerie: Animal Images By Contemporary Artists, San Francisco International

Airport, San Francisco, CA COMMISSIONS 2005 The Frostig Collection, Pasadena, CA 1990 City of Albuquerque, The Albuquerque Library, NM

mike russek My work has always dealt with computers and technology. I have been constantly influenced by the ever-changing advancements of electronics. Fascinated by microchips, processors, the layout and composition of circuit boards, I have been designing a series of shapes and components.

This has lead me to my own vocabulary of objects ~ building pre-made parts from which I can sculpt.

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The Artificial Tree of Life is built with walnut and Plexiglas parts that were inspired by a Windows 98 screen saver. This harmonious blend between organic and synthetic materials is also carried through in the relationship of the material and the shape. Building depth with each layer added, and providing more information each time, I have produced an analog version of digital nature.

Artificial Tree of Life, Plexiglass, spray paint, walnut, 29 x 26 x 1 in, 2010

MIKE RUSSEK EDUCATION 2001 MFA Sculpture, Maryland Institute College of Art, Baltimore, MD 1999 BFA Painting/ Minor Sculpture, Virginia Commonwealth University, Richmond, VA SELECTED GROUP EXHIBITIONS 2010 The Next Generation: A New Chapter In Contemporary Art, London Miles Gallery, UK 2010 Pick of the Harvest, Thinkspace Gallery, Los Angeles, CA 2010 Lightning in a Bottle, Dialect Satellite Gallery, Irvine, CA 2010 Lucent L’amour, Shrine Expo Hall, Los Angeles, CA 2009 Build, Create-Fixate, Los Angeles, CA 2009 Lucent L’amour, Dialect Satellite Gallery, Los Angeles, CA SELECTED CURATORIAL 2010 Owner/Co-Founder, Dialect Gallery, Los Angeles, CA 2005-06 Founder/Director, Six Degrees Festival, Los Angeles, CA 2002-06 Founder/Co-Director, Transport Gallery, Los Angeles, CA

Artificial Tree of Life, detail

may sun I grew up as an urbanite and had never lived in a house with a garden. As a child, I loved the hustle and bustle of the city and didn’t think much about gardening, although I did try to grow bean sprouts from a bean in a pot.

In 1996, I received a 3-month residency in Monet’s Garden in Giverny, France. When I arrived, the sheer aesthetic power of the garden was intoxicating.

It was beauty personified, alive and growing. I went for long daily solo walks up in the hills above the gardens where there was no one else around. When I saw haystacks in the vista below the hills, I felt as if I had walked into one of Monet’s paintings. Still under the influence of my hectic schedule before I

GROW G ROW left on my trip, I had taken photographs with accidental double exposures that connected the hills to the garden.

When I returned to L.A., it felt imperative that I live in an environment where there was close proximity to nature. I moved to an apartment with a communal garden courtyard and a patio where I could place potted plants. As a neophyte, I took baby steps, with the help of a friend, in learning about planting in pots. To my surprise, I discovered I had a green thumb. All I did was water the plants on a regular basis and they thrived. My neighbor would bring dying plants other people had left behind for me to rescue.

TEND, mounted photo panel (16.75 x 116.5 in), video, pebbles, 2010

I now live in a rented house with a garden and a koi pond that winds around the house like a stream. It has 22 fish in it. I learned about taking care of a koi pond and planting trees and watering plants with a hose instead of a watering can.

My daily routine includes cleaning the leaves from the bottom of the pond with a net, changing the filters in

the filter tank, scooping up the dog poop in the garden, feeding the fish, feeding the 3 cats, feeding the dog and taking him out for his daily walks. And, when the oranges are in season on the tree, cutting them in half to feed to the fish. Tending the garden, the dog, the cats, the fish have become a way of life.

MAY SUN EDUCATION 1978-79 MFA, Otis Art Institute, Los Angeles, CA 1976 BA, Art, University of California, Los Angeles, CA SELECTED SOLO EXHIBITIONS 1998 Monumental Minnesota: The Sculpture Garden 10 Years Later, Walker Art

Center, Minneapolis, MN 1996 Trajectory: How Am I Driving?, ArtPace Foundation for Contemporary Art, San

Antonio, TX 1993 UnderGround, Museum of Contemporary Art, Los Angeles, CA 1992-3 May Sun, Robert Berman Gallery, Santa Monica, CA 1991 Fugitive Landing, MIT List Visual Arts Center, Massachusetts Institute of Technology,

Cambridge, MA; Capp Street Project, San Francisco, CA 1989 May Sun, B-1 Gallery, Santa Monica, CA 1988 L.A./River/China/Town, with Peter Brosius and Tom Recchion, Santa Monica Museum

of Art, Santa Monica, CA

TEND, photographic detail

SELECTED GROUP EXHIBITIONS 2002 I/5 Resurfacing: Four Decades of California Contemporary Art, San Diego Museum of

Art, San Diego, CA 1997 118 W/24 N, Minoriten Galerien, Graz, Austria 1995 P.L.A.N.: Photography Los Angeles Now, Los Angeles County Museum of Art,

Los Angeles, CA

Intersections: The Personal and the Social in MOCA’s Permanent Collection, Museum

of Contemporary Art, Los Angeles, CA 1994-6 Asia/America: Identities in Contemporary Asian American Art, The Asia Society

Galleries, New York City, NY; Walker Art Center, Minneapolis, MN; MIT List Visual

Arts Center, Massachusetts Institute of Technology, Cambridge, MA 1994 Equal Rights and Justice: Thirty Years and Counting, The High Museum of Art,

Atlanta, GA and National African American Museum Project, Smithsonian

Institution, Washington, DC SELECTED PUBLIC COMMISSIONS 2006-10 Robert F. Kennedy Inspiration Park, with Richard Wyatt, Central Los Angeles New

Learning Center No. 1, Ambassador Hotel site. Gonzalez/Goodale Architects 2004 Flow, Crown City Center Office Building, Langdon Wilson Architects.

2000 Walking the River. San Antonio International Airport Terminal Renovation Project:

with Marmon Mok Associates and Davis, Durand-Hollis, Rupe.

1997 Chinese Chess Plaza, Central Area Corridor, plaza design for gateway to Chinatown.

1995 City of Dreams/River of History, east portal, Union Station Gateway Center,

with Richard Wyatt, Ehrenkrantz & Eckstut Architects.

La Ballona, City Hall, Culver City, CA, CHCG Architects

melly trochez Symbolizing the dualisms and the expiration of all things in nature...

Through repetitive self-reflection and selfdisclosure I have created this installation on Impermanence. It represents my struggle of following sacred teachings towards enlightenment but still driven by the ephemeral pleasures of materialism.

This dualism is what inspired the creation of the double-sided halo flower transgressional sculpture.

In a culture that measures others by their material goods, class, and hierarchy of power it can be seducing to want to be a part of that construct. I best understand myself as a spiritual being but occasionally guilty of

GROW G ROW consumerism. I chose the spiritual self to be placed at the front of the piece and the pop cultural self at the rear symbolizing my personal relationship to consciousness and the idea of wanting to hide aspects of myself. Impermanence becomes an extension to my series of self-portraits. On one side the female figure is in the act of analytic meditation and on the other in material bliss, instant gratification or state of sufferance. It oversimplifies the distractions in life brought by pop culture, peers, media, family and social praise. The Lexapro represents my personal battles with depression and how healing can be found in both aspects of the self, however in this piece I’ve placed it with

Impermanence, detail

sufferance. The mountain of flower pillows represents the obvious of growth, abundance, life and on the flip side the impermanence of all these things and decay of beauty.

The small white puddle on the ground symbolizes the ephemeral quality of a raindrop but also growth and the detachment needed from the consumerism. The rocks and broken glass represent the brokenness of the spirit and the stitches on the flowers a way to mend these wounds.

These dualisms continue to be prominent and contradicting factors in my works and although opposing forces they create a harmony that embodies my personal journey towards enlightenment and self-awareness.

MELISSA MELLY TROCHEZ

EDUCATION 2011 Masters in Art Therapy, Loyola Marymount, Westchester, CA 2004 Bachelors of Fine Arts, California State University Fullerton, Fullerton CA, SOLO EXHIBITION 2008 Ghost In The Machine, Frank Pictures Gallery, Bergamot Station, Santa Monica, CA 2007 Melly, Frank Pictures Gallery, Bergamot Station, Santa Monica, CA SELECTED EXHIBITIONS 2009 Sanrio, Hello Kitty Tribute, group exhibit, Royal-T Gallery, Culver City 2007 Nuestra Historia: Our Story, Riverside Museum of Art, Riverside, CA 2006 Xican@ Demiurge, Pharmaka, Los Angeles, CA 2006 Does Religion Kill, 18th Street Arts Complex, Santa Monica CA 2006 Iron Eye, Scion Gallery, Culver City, CA 2005 Latino Artists of Los Angeles: Defining Identity, Millard Sheets, Pomona, CA 2004 Incognito, Santa Monica Museum of Art, Santa Monica, CA

Impermanence, mixed media scupture, 44 x 23 x 23 in, 2010

antonio vigil

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This work is an exploration of the reaction and activism of the Chicano community towards oppressive policies and actions of local and federal governments.

In particular, it addresses the Chicano Moratorium March and subsequent attack by police, and the most recent the Mayday Immigrant Rights March in Los Angeles.

By superimposing imagery of these two events on the park re-named for the journalist Ruben Salazar (and the site of the Moratorium March), the intended effect is to create a new sense of place in a landscape containing histories of the past and present.

Regenaracion, oil on wood, 48 x 68.5 in, 2010

ANTONIO L. VIGIL EDUCATION 2001 MFA, Mills College, Oakland, CA 1998 BFA, University of New Mexico SOLO AND TWO-PERSON EXHIBITIONS 2009 Antonio Vigil and Chris Garcia, Tropico de Nopal Gallery, Los Angeles, CA 2008 Invisible Cities, Mercury 20 Gallery, Oakland, CA 2007 Port of Oakland Public Art Program, Oakland, CA 1999 Recent, A R C Gallery, Albuquerque, NM SELECTED GROUP EXHIBITIONS 2009 23rd International Juried Show, Visual Arts Center of New Jersey, Summit, NJ 2009 Annual Department of Cultural Affairs Slide Library Juried Exhibit, City of Los Angeles,

Department of Cultural Affairs, Los Angeles Municipal Art Gallery, Los Angeles, CA 2008 Thinking About La Raza, Perihelion Arts, Phoenix, AZ

Sabado Gigante, Patricia Correia Gallery, Santa Monica, CA

15/15, Patricia Correia Gallery, Santa Monica, CA 2007 Greenlining Institute Spring Art Show, Berkeley, CA

ProArts Juried Annual, ProArts Gallery, Oakland, CA 2005 la onda, Patricia Correia Gallery, Santa Monica, CA 2004 Paintings, Gary Tatintsian Gallery, New York, NY

Views from Big Spaces: A Contemporary Exhibition, Owings Dewey Fine Art,

Santa Fe, NM 2003 Terrarium, Bronx River Art Center, Bronx, NY

AIM 23, Bronx Museum of the Arts, Bronx, NY 2002 Ahorra: New Mexico Hispanic Art, National Hispanic Cultural Center,

Albuquerque, NM

Art Chicago 2002, International art fair, Chicago IL

Reconfigure, Richard Levy Gallery, Albuquerque, NM

Experimental Architecture and the Cultivated Landscape, The Red Door Gallery,

Oakland, CA 2001 Mills College Masters Thesis Exhibition, Mills College Art Museum, Oakland, CA 2000 Art of Revolution/Art of Crossroads, Walter and McBean Gallery, San Francisco

Art Institute

Regenaracion, detail

steven yao-chee wong For many years I have used both the physical medium of a post card, and utilizing the post office, as well as electronic commerce as a means gather stories.

This new installation and accompanying diptych will initiate personal exploration of the paradigm shift in communication and the dissemination of media, how this enters/moves into a home, and how information is becoming increasingly visualized via social media.

The scent of coffee and newsprint, as well as hand written postcards from distant places, are being replaced by glow of a LCD screen and the chattering of keyboards (both my wife’s and mine) in our bedroom.

This is nothing new. This morning I woke up and checked my email in bed. I had unread 79 messages in my personal email account, 108 in my work email account, and 532 in my secondary Yahoo account.

On Facebook I had 24 unread messages, and another 24 event invitations.

Although overwhelming, this is a good day, because I’m well below my average.

Add that to the hundreds of RSS feeds I receive daily, and dozens of tweets, I hereby declare that my life, as well as my bed, has officially entered the information age (albeit a late revelation on my part).

Post Fiber Profile (installation detail), Mixed media installation Appropriated imagery, photography, computer imaging, and printmaking, using a toner transfer process (Xerox transfer), 2010

Post Fiber Home (Diptych), Mixed media mono-print (toner transfer, pencil, watercolour), 66 x 44 in, 2010

The installation (Post Fiber Profile) and accompanying diptych (Post Fiber Home) are two independent pieces exploring two separate approaches exploring how people (and our homes) who are “connected� are inundated with information, often receiving information via constructed social media identities.

This is nothing new for some. My mother has hundreds of letters, bills, and junk mail bound in several bundles by rubber bands, sitting in the entryway of her home,

sometimes with dozens of unread newspapers. That is the model and inspiration for my installation that will explores the shifting ways publishing and media (news, correspondences, adverts, etc.) enters/moves into a home in an increasingly atomized way.

The Post Fiber combines appropriated imagery, photography, computer imaging, printmaking, using a toner transfer process (Xerox transfer), pencil, and watercolor.

steven yao-chee wong The Top 5 random things I learned while doing research for my Surplus piece: 1) There are now more overweight people on this planet than starving (more than a billion overweight people in the world and 800 million who are undernourished) 2) “Obesogenic niche” is a term for the environmental factors which collectively predispose people to excess weight gain 3) There are approximately 23,600 returns when searching for the phrase “Capitalism and Obesity” on Google 4) Men can undergo a liposuction procedure on their “breasts” for approximately $4,000 5) One can’t buy true liposuction tools on eBay Surplus, toner transfer mono print,2010

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STEVEN YAO-CHEE WONG EDUCATION 2000 MFA, University of California, Santa Barbara 1998 MA, Asian American Studies, University of California, Los Angeles.

1996 BA, Fine Arts, University of California, Los Angeles.

SOLO EXHIBITIONS 2008 Self Titled, Matrushka Construction, Los Angeles, CA 2007 Maotown, The New Chinatown Barber Shop, Los Angeles, CA 2004 Chinatown Stories III: Realizing the Imagined, Inaugural exhibition, Chinese American

Museum, Los Angeles, CA 1999 Army of Ghosts 4696, Highways Gallery, Santa Monica, CA.

Imperial Tools: Cola and the Mighty Orange Juice Factory, Highways Gallery,

Santa Monica, CA

Post Fiber Profile, details

SELECTED GROUP EXHIBITIONS 2009 Pandemic, Overtones Gallery, Los Angeles, CA

You Are Here, Los Angeles International Airport, presented by Los Angeles World

Airports and the Los Angeles Department of Cultural Affairs, Los Angeles, CA 2008 The Fundraising Show, Telic Space, Los Angeles, CA 2006 API/2, Doizaki Gallery, Los Angeles, CA

I Could Do That: Contemporary Art and Audience, Brea Gallery, Brea, CA 2005 Chinatown Stories III, Sam Francis Gallery, Santa Monica, CA

The China Project Chinatown In/Flux, Philadelphia, PA 2003 Reconstructing Chinatown, The New Chinatown Barber Shop, Los Angeles, CA

How Many Buddha’s Does it Take to Launch a Rocket?, The California African

American Museum, Los Angeles, CA

Army of Ghosts 4700, Self-Help Graphics, East Los Angeles, CA

Chinatown Stories I: Realizing the Imagined, Japanese American National Museum

and El Pueblo Gallery, Los Angeles, CA 2002 reasons why I couldn’t sleep last night #220: thoughts on symbiont liberation,

Hammer Museum, Freewaves Screening, Los Angeles California 2001 Art in General on Canal, Art in General, New York, New York 2000 Fit, The New Wight Art Gallery, Los Angeles, CA

Beast Wars, Santa Barbara Museum of Art, Santa Barbara, CA VIDEO 2004-5 2002

Axis of Evil: Cowboys or Indians? Best of Extremely Shorts, Jones Center, Austin, TX reasons why I couldn’t sleep last night #220: thoughts on symbiont liberation, Broadcast on PBS Affiliate, KCET, for LA Freewaves, Los Angeles, CA

PUBLIC PROJECTS 2004-5 The China Project Chinatown Influx, Philadelphia, PA, Funded by The Pew Charitable

Trusts; the Philadelphia Exhibitions Initiative, Asian Arts Initiative

xin yunpeng Campbell’s cream of mushroom soup can only be found in the bigger supermarkets in Beijing.

But most Chinese wouldn’t buy it, so the display of the cream soup cans in the Beijing supermarket is nothing but a symbol.

Out of curiosity, I bought this cultural symbol home and opened the can. Since games start with inserting the coins, I found a new flavor of the soup with the outflow of the cream.

I explore in my work the impact of recent Chinese history—the transition from socialism to capitalism and the effects of globalization—on the local art scene. With a particular interest in the power

structures that govern the economics and discourses of art, I investigate the ways in which foreigners have participated as arbiters of taste to define the canon of Chinese contemporary art. Like conceptual pioneer Zhou Tiehai, I am interested in playing with icons of the Western canon, incorporating figures such as Warhol and Lichtenstein into his work. My works, such as Cream of Mushroom Soup, make direct reference to Warhol’s Campbell Soup cans and point to the tremendous influence of American pop art on Chinese contemporary art practice.

Cream of Mushroom Soup, Single vertical screen HDV (04:04), 2008

XIN YUNPENG EDUCATION 2001 BA, Department of Sculpture, Central Academy of Fine Arts, Beijing, China SELECTED GROUP EXHIBITIONS 2009 Blank Making Life, Inside-Out, Beijing, China

Heymarket - Discover New Value of Contemporary Art, Song Zhuang Art Center,

Beijing, China

The mARkeT Summer 2009 - In the Making, Beijing Center for the Arts, Beijing, China

Domino Plan in the Space, Chen Ling Hui Contemporary Space, Beijing, China

Rave Forum, Li-Space, Beijing, China

Carry-on Items, Oriental Vista Gallery, Shanghai, China

Spectacle, To Each His Own, Museum of Contemporary Art Taipei, Taipei, Taiwan 2008 Chinese Fantasies, Found Museum, Beijing, China

We Shall Overcome, Li-Space, Beijing, China

First Exhibition, Li-Space, Beijing, China

Hunting Birds, Tang Contemporary Art, Beijing, China

The Borders of Utopia, Today Art Museum, Beijing, China 2007 Trust the Future, Songzhuang TS1 Museum- Beijing, China

¥%…@¥! #Ø¥∂, Tang Contemporary Art, Beijing, China

Cream of Mushroom Soup, Installation view

The Morono Kiang Gallery would like to thank all the artists who paticipated in MOVE and GROW, whose hard work, dedication, and artistic vision made these shows possible!

Pictured: John Carr, Kendell Carter, Ricardo Duffy, Oliver Hess, Kimmy Kim, Betty Lee, Dominique Moody, Amitis Motevalli, Camilo Ontiveros, Sarah Perry, Mike Russek, May Sun, Antonio Vigil, and Steven Yao-Chee Wong Not Pictured: Kim Abeles, Orameh Bagheri, Erica Cho, Hushidar Mortezaie, Melly Trochez, and Xin Yunpeng

anonymous

Rat Trap, Rat trap, AMEX magnet, 4 x 8 x 3.5 in, 2010

MOVEMOVE

march 20 - may 22, 2010

john carr kendell carter ricardo duffy kimmy kim betty lee camilo ontiveros steven yao-chee wong xin yunpeng morono kiang gallery bradbury building 218 west 3rd street los angeles, ca 90013

opening reception: saturday, march 20 6-9 pm

morono kiang gallery

kim abeles orameh bagheri john carr kendell carter erica cho didier hess ricardo duffy betty lee

218 west 3rd street los angeles, ca 90013

dominique moody hushidar mortezaie amitis motevalli sarah perry mike russek may sun melly trochez antonio vigil steven yao-chee wong

june 26 - august 21, 2010 opening reception: saturday, june 26, 6-9 pm

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