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An intimate exhibition of works by Los Angeles-based artist Michael C. McMillen is currently on view in one of Venice’s longest standing establishments, Hal’s Bar and Grill on Abbot Kinney. Located in the restaurants Upstairs Gallery, V-SPACE, the solo show includes a selection of wall-mounted mixed-media assemblages that span 30 years of the artist’s prolific career. 
Utilizing found objects and materials amassed over time, McMillen is primarily known for his multi-sensory installations, assemblages, sculptures, painting and films that transport the view into another world, completely imagined by the artist. He has been the subject of solo exhibition at Los Angeles County Museum of Art and the Whitney Museum of American Art, New York. A retrospective of his work was presented at the Oakland Museum of California in 2011. Most recently, McMillen created a site-specific installation titled “The Entropic Taxi: Final Destination,” which is currently on view at Palais de Tokyo in Paris, France. 
Michael C. McMillen will be on view at V-SPACE through December 1, 2014.
IMAGE: Michael C. McMillen, Luna, 1984, paint on wood, 47 1/2 x 41 x 8 1/2 in. (120.7 x 104.1 x 21.6 cm)

An intimate exhibition of works by Los Angeles-based artist Michael C. McMillen is currently on view in one of Venice’s longest standing establishments, Hal’s Bar and Grill on Abbot Kinney. Located in the restaurants Upstairs Gallery, V-SPACE, the solo show includes a selection of wall-mounted mixed-media assemblages that span 30 years of the artist’s prolific career. 

Utilizing found objects and materials amassed over time, McMillen is primarily known for his multi-sensory installations, assemblages, sculptures, painting and films that transport the view into another world, completely imagined by the artist. He has been the subject of solo exhibition at Los Angeles County Museum of Art and the Whitney Museum of American Art, New York. A retrospective of his work was presented at the Oakland Museum of California in 2011. Most recently, McMillen created a site-specific installation titled “The Entropic Taxi: Final Destination,” which is currently on view at Palais de Tokyo in Paris, France. 

Michael C. McMillen will be on view at V-SPACE through December 1, 2014.

IMAGE: Michael C. McMillen, Luna, 1984, paint on wood, 47 1/2 x 41 x 8 1/2 in. (120.7 x 104.1 x 21.6 cm)

The city of Columbus is preparing to unveil a new commissioned public sculpture project by visual artist and musician Terry Allen. Located along the banks of the Scioto River (which intersects through the city), Allen created two anatomically correct bronze deer, posed as human figures casually reclining by the waterfront. The concept for the work was inspired the name of the river “scioto,” the Native American word for “deer” in the Wyandot language.

“When I was walking around the river, people were lying down and sitting on benches,” Allen said. While watching the scene, he thought “what if that guy lying in the grass was a deer?” (thelantern.com)

In conjunction with this new installation, an exhibition of Allen’s drawings are on view at The Urban Art Space on the campus of Ohio State University. Titled “Possible Impossible,” the show focuses on Allen’s drawing proposals he produced for commissioned works — some of which were realized and some that never came to fruition. On view through November 8. 

Ed and Nancy Kienholz's seminal tableau “The Ozymandias Parade" takes center stage at this year’s Gwangju Biennale in Korea — marking the 13th installation of this powerfully provocative work. Having first debuted at the Henry Art Gallery, Seattle in 1985, the tableau continues to resonate with the same vigor and relevance today as it did back then. Its illustrious exhibition history includes the Portland Center for the Visual Arts (1986), Whitney Museum of American Art (1996), Baltic Centre for Contemporary Art (2005) and the Schirn Kunsthalle (2011), just to name a few.

Now almost 30 years since its creation, not only have the components of the sculpture remained the same, but it has stayed true to its original conceit. In each city where the tableau is installed, the public is asked the question: “Are you satisfied with your goverment?” The result is then masked across the parade leader’s eyes, who blindly leads his followers while inverted beneath a rearing horse. In this instance, the answer was a resounding “No.”

Throughout the work’s rich history, this is actually the first time “The Ozymandias Parade” has been installed in Asia, and will be on view in Gwangju, Korea through November 9, 2014. 

Click here to read recent press on the Gwangju Biennale in the Economist. If you’re interested in learning more about the work of Ed and Nancy Kienholz, visit our website. 

Sui Jianguo is not only a prolific artist, but an accomplished teacher as well. From 1997-2009, Sui Jianguo served as the Head of the Sculpture Department at the prestigious Central Academy of Fine Arts (CAFA) in Beijing, China, the artist’s alma mater. During his tenure, Sui challenged the current curriculum, plagued by socialist themes and limited training of only certain techniques, and advocated a new program of arts education that encouraged modern ideals and diversified approaches.

Not only was he successful in implementing profound systematic change at CAFA, but his new program was gradually put in place across the country’s entire art education systems.

Sui continues to teach at CAFA, and is pictured above interacting with students on campus. 

An exhibition of works by Sui Jianguo is currently on view at L.A. Louver through October 18. 

Frederick Hammersley featured in the Santa Barbara Independent. The review is especially poignant given Hammersley’s close connection to the city of Santa Barbara, having first shown this particular body of work (currently on view at L.A. Louver) at the Santa Barbara Museum of Art in 1965. Here’s a short excerpt of the article:

These unusual “cut-up” paintings and the “Organics” series which served as their source material are the subject of a fascinating and powerful exhibit now on view at LA LOUVER Gallery in Venice Beach through October 18. LA LOUVER has done a magnificent job of researching and documenting Hammersley’s multifaceted career, and, as more becomes known about the specifics of his process, it seems likely that Hammersley will assume a commanding position as one of the most prescient and durable figures in the history of modernism.

Click here to read the complete write-up.
Frederick Hammersley: Organics and Cut-ups, 1963-1965 will be on view at L.A. Louver through October 18.
IMAGE: Frederick Hammersley, Agnes, #9c 1965, oil on chipboard panel, 29 1/4 x 24 1/4  in. (74.3 x 61.6 cm)

Frederick Hammersley featured in the Santa Barbara Independent. The review is especially poignant given Hammersley’s close connection to the city of Santa Barbara, having first shown this particular body of work (currently on view at L.A. Louver) at the Santa Barbara Museum of Art in 1965. Here’s a short excerpt of the article:

These unusual “cut-up” paintings and the “Organics” series which served as their source material are the subject of a fascinating and powerful exhibit now on view at LA LOUVER Gallery in Venice Beach through October 18. LA LOUVER has done a magnificent job of researching and documenting Hammersley’s multifaceted career, and, as more becomes known about the specifics of his process, it seems likely that Hammersley will assume a commanding position as one of the most prescient and durable figures in the history of modernism.

Click here to read the complete write-up.

Frederick Hammersley: Organics and Cut-ups, 1963-1965 will be on view at L.A. Louver through October 18.

IMAGE: Frederick Hammersley, Agnes, #9c 1965, oil on chipboard panel, 29 1/4 x 24 1/4  in. (74.3 x 61.6 cm)

Read a recent Artnet interview with Jason Martin. Here, he discusses what inspires his work and what we might expect from him next.
To see more images of his textural monochromatic paintings, visit his profile on our website. 

Read a recent Artnet interview with Jason Martin. Here, he discusses what inspires his work and what we might expect from him next.

To see more images of his textural monochromatic paintings, visit his profile on our website

A new monumental sculpture by Sui Jianguo was recently unveiled in Vathorst, The Netherlands. Titled “A Mountain in The Netherlands,” the sculpture was commissioned by the Development Bureau Vathorst and Foundation Vario Mundo as part of long-term cultural development plan for the city of Vathorst. 

Throughout his prolific career, Sui has created a number of public works worldwide. Click here to see more images of his colossal sculptures.

A solo exhibition of Sui’s works is currently on view at L.A. Louver through 18 October. 

In a forthcoming Huffington Post article, Sandra Mendelsohn Rubin discusses the continued relevance of representational art. Rubin paints her surroundings, particularly landscapes around her home located in Boonville, a rural town in Mendocino County, California. By working on a smaller scale and with great detail, Rubin allows the viewer to focus intensely on wide vistas, creating an intimate engagement with the landscape.

Excerpted from “5 Artists on the Enduring Qualities of Representational Painting,” by F Scott Hess 

Tucked away in her secluded Northern California home and studio, Sandra Mendelsohn Rubin has plenty of time to think about the importance of what she does on this planet; “From the beginning of human history, making marks depicting the physical world has been a constant. Our ability to question the meaning and purpose of our existence is what differentiates us from other animal species. Representation in painting touches on this core human truth. It is as much a part of our existence as storytelling and poetry. No matter the subject or content - how complex or how minimal - representational painting incorporates the gift of a narrative. That being said, representation cannot stand alone. The true poetry lies in the orchestration of a good composition combined with the skillful use of paint and color, all driven by sensory perception, intuition and memory. No matter the time in history, when done masterfully, it is timeless. In daily life, we ‘look’ but we do not always ‘see’. We are physical beings in a tactile three dimensional world. Representation makes us pay attention to our surroundings as well as to ideas and relationships. We all have a story to tell. It is my firm belief that representational painting will always be new no matter the trends or curatorial leanings of the times.”

Visit our website to learn more about Rubin’s work. 

Check out photos from our Sui Jianguo and Frederick Hammersley opening event, now on our Facebook page. 
IMAGE: (left to right) Sui Jianguo, Li Aidong and Richard Deacon

Check out photos from our Sui Jianguo and Frederick Hammersley opening event, now on our Facebook page

IMAGE: (left to right) Sui Jianguo, Li Aidong and Richard Deacon

Join us this Thursday, September 18 at 7pm for a special conversation evening with Kathleen Shields (Executive Director and President, Frederick Hammersley Foundation), Alan Phenix (Scientist, Getty Conservation Institute) and Hunter Drohojowska-Philp (Art Critic, KCRW) as they discuss Frederick Hammersley’s work and life.
Free to all, but with limited seating; reservation is recommended. Please RSVP to 310-822-4955 or rsvp@lalouver.com.
Frederick Hammersley: Organics and Cut-ups, 1963-1965 is on view at L.A. Louver through October 18, 2014. 

Join us this Thursday, September 18 at 7pm for a special conversation evening with Kathleen Shields (Executive Director and President, Frederick Hammersley Foundation), Alan Phenix (Scientist, Getty Conservation Institute) and Hunter Drohojowska-Philp (Art Critic, KCRW) as they discuss Frederick Hammersley’s work and life.

Free to all, but with limited seating; reservation is recommended. Please RSVP to 310-822-4955 or rsvp@lalouver.com.

Frederick Hammersley: Organics and Cut-ups, 1963-1965 is on view at L.A. Louver through October 18, 2014.