PØST

July 31, Dylan Palmer

2011-07-17T11:24:00.000-07:00

Nonchalants
Curated by Dylan Palmer

July 30, Susan Joseph

2011-07-17T11:17:00.000-07:00

A performative installation by Humberto Howard, Susan Joseph and Linda Parnell

http://smallwonderfound.org/wonders/pages/col-clac-wonders2.html

http://anightinjuly.wordpress.com/

Sirens, by ANIGHTINJULY
http://vimeo.com/25917269

Terminus Nodus, by Linda Parnell
http://vimeo.com/25916884

¡Clac! at PØST!

Saturday, July 30, 2011, 7 to 10 pm,
Performance at 8:30 & 9:30 PM

A performative installation by Humberto Howard, Susan Joseph and Linda Parnell.

¡Clac! presents sound sculpture, Terminus Nodus by Linda Parnell, Oscilloscopes by Humberto Howard and works by ANIGHTINJULY, the collaborative team Humberto Howard and Susan Joseph, including a performance of AntiMusik Compositions, an exploration in repurposed instrument making and surrealist video.

Linda Parnell creates work from various unconventional materials: DNA, water and sound. Recently she worked with Multipoint, USA, and exhibited at the Kellogg Gallery at Cal Poly Pomona. This new work involves elusive formalism and collective communication.

Humberto Howard believes in work that conjures an image, a feeling. He works in experimental sound and video as well as found-object, ready-made sculpture and painting. He recently performed in ARTWALK 2011 at LACMA and his work titled Daumal in Drag, a sound-video performance piece, was choreographed and performed by Lindsay Ducos for Catalyst 2010 at Diavolo, Los Angeles.

Susan Joseph works in experimental sound, animation and video as well as installation and painting. She recently participated in The Monitor Show, a part of TBA, a seven-part video exhibition at Kristi Engle Gallery, Los Angeles and has exhibited her art works in numerous solo and group exhibitions over the course of her career.

Curated by Susan Joseph.

Knock me off my fender.

July 29, Nathan Bockelman

2011-07-17T11:16:00.000-07:00

Ancient History
Curated by Nathan Bockelman

Ancient History

A show featuring sculptures, photos, performances, and videos by

Patrick Ballard
Elonda Billera
Janice Gomez
Jean Robison
Amy Sarkisian
Peter Witrak

Please join us on Friday, July 29th for a one night show with works that delve into the topic of the self, the dopplegänger, and the neurotic world within.

Live sound performance by Patrick Ballard at 8pm.

Curated by Nathan Bockelman

7-10pm
PØST
1904 East Seventh Place
Los Angeles, CA 9002121

July 28, Denver Tuttle

2011-07-17T11:14:00.002-07:00

Curated by Emma Jurgensen

ARTIST STATEMENT

Looking at any work of art, I find myself in the common, yet unusual, position of expecting the unexpected—something about the work that is different, something in the encountering of it that attracts my interest and sustains my gaze. I’m looking for the art in the object of art, for some poetical turn lodged within or arising from the work’s structure that will affect the shape and tone of my own sensibilities, an aesthetic experience that will invite my fascination and open me to an increased sense of wonder.

The works I’ve presented here continue to coax and conjure my vision of crafting a kind of three-dimensional trompe-l’oeil. Through the use of non-transparent reflective sheets set carefully vis-à-vis one another, I work to depict glasslike objects, and other transparent solids. The perceptual and conceptual ambiguities of this imagery highlight viewer engagement as one of the work’s most integral and compelling facets. Positioned as a site for this personalized experience, each work offers a transitional moment of “ah-ha!” when it is detected to be other than it appears. The viewer’s heightened awareness of this difference between “looking at” and “seeing into” the object becomes key as the uncanny encounter unfolds upon sustained perceptual shifts and cognitive revelations. In this way, the work offers reflection on an illuminated present, and its apparent transitions through a discreet series of unfolding moments in time.

July 27, Karen Lofgren

2011-07-17T11:14:00.001-07:00

Objects for the Living

curated by Karen Lofgren

Olga Koumoundouros

Naotaka Hiro

Joshua Callaghan

Objects for the Living

curated by Karen Lofgren

The artists are:

Joshua Callaghan

Naotaka Hiro

Olga Koumoundouros

July 26, Mary Anna Pomonis

2011-07-17T11:00:00.000-07:00

The Thirteenth Grade
curated by Mary Anna Pomonis

The Thirteenth Grade
curated by Mary Anna Pomonis

The show 13th grade invites artists of different ages to draw as a live action on July 26th at PØST. The drawings represent a spontaneous collaboration between successful working artists and young students. The ideas questioned by the premise are notions of academic value and authorship. So much value is ascribed to artwork that is derivative either via an institution or institutional culture. Here naive artists are mixed anonymously with established artists focusing the issue and creating a product ( collaborative drawings) that fall in the academic gap between high school and college, art history and popular culture.
The artists participating are: Benjamin Ball, Kristin Calabrese, Christine Guyiangco, Hazel Handan, Anaeis Ohanian, Stas Orlovski, Ben Tegel, Sabina Ott, Jason Pinsker, Max Presneill, Justin Stadel, Guilia Tassius, Allison Stewart and Eve Wood.

July 25, Barry Markowitz

2011-07-17T10:58:00.000-07:00

Carrie Ungerman

curated by Barry Markowitz

July 24, Chris Oliveria

2011-07-17T10:55:00.000-07:00

LA based artists Rich Bott and David Hughes,
and SF based artist Nick Ackerman

July 23, Jim Ovelmen

2011-07-17T10:53:00.002-07:00

Homemade Holograms: Two Clocks
Halsey Rodman and Ohad Meromi
Curated by Jim Ovelmen

Homemade Holograms: Two Clocks

Halsey Rodman and Ohad Meromi
video installation

CURATOR’S STATEMENT

by Jim Ovelmen
"Homemade Holograms: Two Clocks"
Halsey Rodman and Ohad Meromi
video installation
P Ø ST, July 23rd, 2011

Halsey Rodman and Ohad Meromi are New York artists with exhibitions histories integrating sculpture into various media. Do-it-yourself aesthetic investigations into the sculptural real and the video virtual may not seem like virgin territory these days, but what both Rodman and Meromi do in the work involves a remarkable restaging of time and volume.

Rodman’s work is over 3 hours long. Meroni’s work is only 10 seconds —looped endlessly. In Rodman’s video, we see him lying for hours at the center of a large table in his studio. In order to create a self-portrait, he had 12 participants flock around and construct a sculptural version him. This event, called The Navigator, was filmed over two periods separated by exactly one year. The series was connected to a sculptural project commissioned by the Saatchi Gallery in 2006. Rodman’s 3 hour and 22 minute video gives the impossibility of perceiving the whole although we are looking right at it. The same inability that we have of understanding time is paired visually to this paradox.

Ohad Meromi 2009 work Specter II shows a peculiar revolving object. Meromi integrates sculpture and installations into something like spacial maps of familiar forms, domestic and architectural —as if those terms are separated all too often.

Using stop motion animation, Meromi creates something that can easily be mistaken as computer generated animation. The sense of scale as well is left ambiguous, as the artist has not included the original dimensions here. Specter II loops endlessly because the last frame of the animation is identical to the first frame.

In January of 2011, I co-curated a show called "Universe City" that projected video art onto campus buildings of CSULA. Rodman and Meromi were included in this show, and the two videos that are presented here tonight were featured. In that show, these videos The Navigator and Specter II were projected three stories tall on a campus-building facade. (see images). These works continue to deliver a surprising lesson, to different extremes, on how an artwork exists in any specific time and dimension —while reminding us of the incapability of demonstrating this.

Jim Ovelmen

July 22, 2011

July 22, Kristi Lippire

2011-07-17T10:53:00.001-07:00

Curated by Young Chung

The Weathervane Project will feature the first in a series of weathervanes by Kristi Lippire. This will be the first viewing of the 12 foot tall, 5 cat weathervane since its completion. The exhibition will also include a support drawing and model of the project.

July 21, Coleen Sterritt

2011-07-17T10:48:00.000-07:00

Materiality

Curator: Coleen Sterritt

Ashton Amores

Dao Nguyen

Laura Goble

Sean Lueder

Eber Palomares

Kelly West

Tamara Mason

Luis Moreno

Stacey Myhren-De Board

Sean Lueder

Materiality

July 21, 2011
7-9pm
PØST: 1904 East 7th Place, LA, CA USA 213-488-1280
www.post-la.com

Curator: Coleen Sterritt

Artists:
Ashton Amores, Laura Goble, Sean Lueder, Tamara Mason,
Luis Moreno, Stacey Myhren-De Board, Dao Nguyen, Eber Palomares,
Kelly West

To wrap, to pour, to scatter, to pull, to cut, to drape -Richard Serra

Break it, stretch it, bend it, crush it, crack it, fold it. -Bruce Mau

Working in a wide range of materials and processes, these nine emerging artists closely adhere to a post-minimalist sensibility. They’ve set out on a path of discovery looking for the existent possibilities in the ordinary and mundane, the discarded and overlooked.

Through the transformation of such things as plaster, masking tape, glue, crushed cans, clay, newspaper, rubber, human skin, plastic bags, chicken wire, plexiglass, and old car parts we get glimpses of the personal and political with works that address issues concerning identity, contemporary culture, and wonders of the natural world.

July 20, Young An

2011-07-17T10:39:00.000-07:00

NIP @ PØST
curated by Young An

NIP @ PØST
Curatorial Kamikaze Exhibition
curated by Young An

Wednesday, July 20, 2011 : 7-9pm
PØST 1904 East 7th Place LA CA 90021
213 4881280, or new@post-la.com

*Please prepare yourselves to eat, drink, laugh, and have a great time talking about NIP. Free and ample parking available.

Nipsters: Young An, Jessica Beuge, Mary Browne, Lavialle Campbell, Beatrice Gonzales, Dephne Hill, Susan Joseph, Stacy Kiel, Stevie Love, Jonna Lee Pangburn, Laurel Rioux, Julie Scott, and Alexis Seely
_________________________
HK Zamani the owner of PØST has invited me to curate a show a few months ago. Since then, I have gone over in my head of my art. I have thought of my fellow artists. I have thought of all the good times I've had with them all. Then, I thought of a word, NIP.
It was only natural for me to pick "NIP" as the title of our show. I make little things. I connect to personal experience. I care about relationships among. I was certain for my fellow artists to buy in to the concept that I treasure for because we are all living in and with it.

Nipsters(Artists participating in NIP) were asked to pick a definition, synonyms of, abbreviation of, or make up a meaning for NIP. The show will have a variety of genre in terms of medium. However, they all have a bonding concept of "NIP."

These are what Nipsters wrote about their pieces:

Young An, little me
Jessica Buege, A bit out of...
Mary Browne, To destroy the growth progress of fullfillment
Lavialle Campbell, A mere taste or smidgen of a larger quilt
Beatrice Gonzales, N I P
Dephne Hill, To nip or nipping to take part in a sexual or semi-sexual act almost always lips involving the mouth or lips
Susan Joseph, THE in Interplanetary language of pleasure
Stacy Kiel, A biting taste or tang, especially in some cheese. A small bit or quantity of anything. A nip of stave off hunger
Stevie Love, "Nip to tip" traces a meridian pathway from the nipple to the tip of the middle finger. It's the pericardium, or circulation -sex meridian
Jonna Lee Pangburn, "Pearls-some things that really used to irritate me." NIP- the anger in the but, coat it and coat it until it is no longer irritant. (The Nips love their pearls... find them soothing. The pearls have little nips, little nipples. Well the niper-snappers find those soothing too.)
Laurel Rioux, "Nipped in the bud"
Julie Scott, "Neurotic In Paradise"
Alexis Seely, Nothing is personal....nip

_________________

July 2011 Kamikaze Exhibits
In the month of July, PØST will present thirty-one different exhibits. The July 2011 Kamikaze exhibits continue in the same tradition of thirty or thirty-one Kamikaze exhibits that were presented at PØST in September of 2009, July 2010 and January of 2011. Difficult times invite difficult gestures. By design, these exhibits remain close to art and distant from the other stuff. A book will be produced for each Kamikaze month.

Kamikaze Artist-curators:
Daniel Aksten, Young An, Dawn Arrowsmith, Kireilyn Barber, Nathan Bockelman, Kathrin Burmester, Carolyn Castaño, Angel Chen, Alice Clements, Marjan Hormozi,Bettina Hubby, Susan Joseph, Alice Könitz, Kristi Lippire, Jay Lizo, Farrah Karapetian, Karen Lofgren, Barry Markowitz, Sandeep Mukherjee, Chris Oliveria, Jim Ovelmen, Dylan Palmer, Joan Perlman, Mary Anna Pomonis, Danny Shain, Alysse Stepanian, Coleen Sterritt, SLS, Devon Tsuno, Denver Tuttle, HK Zamani.

For more information contact HK Zamani at 213 4881280, or new@post-la.com, PØST 1904 East 7th Place LA CA 90021 USA www.post-la.blogspot.com, http://www.postlosangeles.org/, or facebook
Tel: 213-488-1280

July 19, Kathrin Burmester

2011-07-17T10:33:00.000-07:00

PST at PØST
“Pacific Standard Time – All Aboard?”
An open forum organized and staged by Kathrin Burmester

PST at PØST
“Pacific Standard Time – All Aboard?”
An open forum organized and staged by Kathrin Burmester
Tuesday, July 19, 2011
7 – 9pm

On July 19th at PØST I am staging an open platform for artists and art workers to engage in a discussion around the Pacific Standard Time (PST) initiative that will sweep across SoCal for the next half year beginning in early Fall.

Pacific Standard Time: Art in L.A. 1945-1980 is a Getty funded initiative. From October of 2011 through March 2012, more than 60 exhibitions and programs across the region will focus on the artistic production of Southern California in the post-war years. Organizers have described the initiative as an effort to discover and celebrate art that has been overlooked and/or under-valued because of a New York or Euro-centric bias in the art field.

Words like extravaganza, celebration, collaboration, collective effort are highlighted in press about the initiative. The Getty has funded almost $10 million in grants in support of this initiative. Other funders, like the Warhol foundation, have also contributed significant amounts to exhibitions.

I believe that the sheer magnitude of PST and its potential to impact all different levels of art production asks for a closer look. What does this initiative mean for artists and art discourse in LA today, the place where we primarily engage?

The idea behind PST at PØST is to provide the form of an open forum. In addition, various tools for presentation will be made available, including stage, microphone and projectors -- allowing other forms of speech and demonstration of thought to be put into play.

This is an opportunity to share experiences with PST or pose questions regarding PST. Any aspect of the initiative is open for discussion and everybody is welcome to join. If you have a specific thought you would like to address and would like it to be announced in advance, please let me know. I will be happy to list you as a confirmed participant. Please feel free to contact me with any questions.

Kathrin Burmester
kathrin_burmester@yahoo.com

PØST
July 2011 Kamikaze Exhibits
1904 East 7th Place
Los Angeles, CA 90021 USA
213 4881280

new@post-la.com
http://www.post-la.com/
http://www.post-la.blogspot.com/
http://www.postlosangeles.org/

July 18, Alice Clements

2011-07-17T10:31:00.000-07:00

SIDE PROJECT
Curated by Alice Clements

Matt Wardell

Alice Könitz

Alice Clements

Amy Green

Marc Horowitz

SIDE PROJECT
Curated by Alice Clements

Erich Bollmann
Alice Clements
Erik Frydenborg
Amy Green
Marc Horowitz
Alice Könitz
Curt LeMieux
Kristi Lippire
Matt Wardell

A side project in art can be interpreted in various ways. It could be a project that runs parallel to an artist's main medium/technique/body of work that has developed over time. It could be a new direction that doesn't quite seem to fit in but might herald bigger and more involved things to come. It could be a group of works that have never been shown due to the commercial pressure for continuity, or due to the artist's unsure feeling about them.

This show is an opportunity for artists to stretch outside of their normal arena, or to air out something that's been lurking in the wings.

Questions implicit in the side project are : how much of an artist's continuity arrives out of market pressure or some idea that we "should" be consistent and develop in a linear manner? Does talent lie mainly in one medium or direction for most artists or are we more multivalent than we think we are? Does an artist's work simply go through phases over time that appear different from each other or can there be truly different work that comes out of a single time?
Does work get better or worse when it is developed? Have we been trained to focus, or is it our natural inclination? Can we untrain ourselves? Is there value in taking multiple directions at once or is it just jumpy? How many different directions could one take without all or part the work suffering? Two? More than two?

Side projects are common in music, why is this term less familiar in the context of art?

July 17, Joan Perlman

2011-07-17T10:28:00.001-07:00

Transmute
Curated by Joan Perlman

Nancy Cohen

Joan Perlman

David McDonald

Transmute: Nancy Cohen, David McDonald, Joan Perlman
Curated by Joan Perlman

To change from one form, substance or state into another.

The artists of Transmute use transformation as a primary element in their work, through material, process, or concept. Common concerns include an interest in the tension of opposites: order and chaos, transparency and opaqueness, the organic and architectonic, arbitrary and planned. The work embraces the abstract and often refers to natural or man-made phenomena.

Nancy Cohen's sculpture has been described as palpable, disjunctive and sensual. These works on handmade paper were made in response to her sculptural installation about the Hudson River's unique confluence of river and ocean waters. Her process uses chemical and physical permeation – paper pulp, rust and salt affected by water and the malleability of the paper -- to explore imagery based on the molecular chains and patterns of these waters.

In his sculptures and painting, David McDonald uses modest materials, and color, scale and textures, and transforms often humble means into evocative ends, to create a “profound fundamental:…the mysterious alchemy of material and form."* These pieces combine chips of paint found in the streets near his studio, worn from use, with paint store samples in an ideal state. He explores the interlocking qualities of parts, present in most of his work, and an interest in fragments and interconnectivity.

Using the light, colors and textures of the far north landscape, Joan Perlman's paintings examine the transformation of mutable natural form through the energy of geological process. Her abstract work is deeply engaged with the substance of place and the intricacy of nature's turbulence and flow. Shown here are paintings focused on Iceland's glacial rivers, whose power is from geologic forces deep in the earth, and pieces made with black volcanic sand, inspired by the fragile ephemerality of melting ice in the north.

*Holly Myers, LA Times

July 16, Alice Könitz

2011-07-16T22:21:00.000-07:00

Karina Nimmerfall:
On/e Screen

Curated by Alice Könitz

Karina Nimmerfall:
On/e Screen

Karina Nimmerfall:
On/e Screen

Curated by Alice Könitz for Kamikaze Exhibits

Date: Saturday, July 16, 2011
Reception: Saturday, July 16, 2011, 7-9 pm

Karina Nimmerfall will present Double Location (The Ambassador Hotel), 2007, a computer generated animation video based on the legendary Ambassador Hotel in Los Angeles. Filled with historic and cinematic memories, this video is not an objective architectural reconstruction but a virtual space grounded in collective memory and medially transported descriptions of space.

Karina Nimmerfall is a visual artist based in Berlin, Germany and currently the Visiting Artist-in-Residence in the Graduate Studies Program at Art Center College of Design in Pasadena.

PØST
1904 East 7th Place
Los Angeles, CA. 90021 USA
213.488.1280
new@post-la.com

July 15, Marjan Hormozi

2011-07-15T22:03:00.000-07:00

Too True …

Siri Kaur

Anne Fishbein

PØST Press release

Too True …

Faking the real is a seductive aspect of the postmodern culture and a major player in the concept of mass production. It tries to show off what it is not to gain status and trust, only to mislead you and then take from you.

Anne Fishbein’s Mannequins and Siri Kaur’s ‘Alter Ego’s show an ironic twist on the concept of fake authenticity. Jean Baudrillard writes, “We are living in an era in which the true cancels itself in the truer-than-true, the too-true-to-be-true," and the false "disappears into the too-false-to-be-false,"

There are many dimensions to Siri Kaur’s Superman. Christopher, (the actor playing the actor), has become Superman, and Christopher Reeves was never the Superman character, he was an actor assuming the Superman character. The original superman is a comic book hero. So it is the fake, faking the fake, while trying to be an original.

Anne Fishbein’s images of mass-produced mannequins undergo humanization. They are meant to sell merchandise but they have taken on an element of human vulnerability and hopelessness vital to the survival of our mass-produced culture. These mannequins have become the victimized consumers of the products they sell. Like Max Beckman, she closely pulls everyone in, including the viewer, but everyone remains unconnected.

The common thread in these artists’ works lies on that edge between what is real and what is fake, where you know what you are experiencing is not real, but you buy in to it.

Marjan Hormozi
July 2011

July 14, Sandeep Mukherjee

2011-07-10T10:47:00.000-07:00

Mercedes Teixido curated by Sandeep Mukherjee

The “L” Word

PØST
July 14, 2011

Watercolor on handmade paper
4”x6”
2”x 3.5”

2009-present
These images are inspired by poetry, signage, and form itself.
All as ways to talk about what is going on. They are improvised
and idiosyncratic. Words and letters are only part of the story.
Absence, presence, and the groupings that comprise the total
collection of images all inform how these letters work. Words
here are felt as much as read. Meaning is not fixed in the shapes
that may or may not be letters. Words travel from mind to mind;
the familiar is laminated to the unfamiliar, and language in
all its forms, is continually reinvented.

July 13, Steven Lee Stinnett

2011-07-10T10:38:00.001-07:00

You are invited!

To the fabulous Spanglish for Gringos QR tag Art opening

A one night event

Wednesday July 13, 7-9 PM

at PØST

1904 East 7th Place
Los Angeles

food by Border Grill • tunes by DJ Tomás

Bring your smart phone!

Featuring the Art work of some of our friends.:

Beth Herzhaft, David Dziemian, Helen Nichols, HK Zamani,
Howard McAvoy, Jeff Turner, Joanne Kaliontzis, Jonathan Coffin,
Kate Vrijmoet, Leonor Donato, Michael Lownie, Shanna D’Antonio, Yani Wood

July 12, Farrah Karapetian

2011-07-10T10:31:00.000-07:00

Abstract Smallness

Abstract Smallness
July 12, 2011
PØST: 1904 East 7th Place LA CA 90021 USA 213 4881280 www.post-la.com

Curator: Farrah Karapetian
Artists: Benjamin Britton, Ginny Cook, Daniel Cummings, Mara De Luca, Deanna Erdmann, Alexandria Harris, Ivan Iannoli, Kelly Kleinschrodt, Kasper Kovitz, Sarah Lowing, Dana Maiden, Julie Orser, Kim Schoen, Allen Tombello

In 1970, Michael Fried wrote that Anthony Caro’s table sculptures, each of which was an intentionally small work, “could not be seen merely as reduced versions of larger ones.” These were “sculptures whose smallness was to be secured abstractly, made part of their essence, instead of remaining simply a literal, quantitative fact about them.” Caro’s solution to embedding the necessity of particular dimensions into the very syntax of his sculptures was one arguably specific to the conversation of his time; the logic he applied in this regard employed a materialist logic that led to the decision to incorporate handles into the table sculptures, so that the scale of each piece was keyed to “that of graspable, manipulable objects.” His logic led also to the decision to include an element in each piece that would exist below the level of the tabletop on which the sculpture was to be placed, thereby precluding the sculpture’s transposition, “in fact or in imagination, to the ground.” This latter decision determined both the dimensions of the piece and its position in space and with respect to the viewer – again, through the modernist logic of material. In 2011, working through a more diverse conceptual lens, artists arrive at the specific scale of a work through a more diverse set of theorizations and instincts. Abstract Smallness collects fourteen such solutions and briefly, in the context of PØST’s one-night Kamikaze exhibitions, poses the question: what drives the formal parameters of contemporary work when contemporary work is not necessarily driven by formal parameters nor driven by one dominant logic at all?

July 11, Dawn Arrowsmith

2011-07-10T10:28:00.000-07:00

EL VOSTRO SPAZIO/In Your Space

Curated by Dawn Arrowsmith, Nancy Spiller, and Jill Sykes

Venice, Italy is a living stage. Its history of concealed identity through costume and mask is replete with subversive activity and transgressive assignation. For three working artists visiting its famous contemporary art production, the 53rd International Art Exhibition of La Biennale di Venezia, it was important to join in. We would curate a collateral group exhibition and guerrilla art intervention as a collaborative work of art. A number of artists were willing to be a part of it:

Ada Pullini Brown, Dean DeCocker, Roni Feldman, Bianca Eveliz Garcia,
Suvan Geer, Phyllis Green, Doug Harvey, Linsley Lambert, Keith Lord, David Luce,
Clint MacKenzie, Mery Lynn McCorkle, M.A. Peers, Katie Phillips, Ave Pildas,
Alison Rash, Roland Reiss, Nancy Spiller, Deborah Sussman, Jill Sykes,
Sylvia Tidwell, Rachel Warkentin, Deborah Yates and Dawn Arrowsmith.

The collateral exhibition, “NEL VOSTRO SPAZIO/In Your Space,” was installed in a temporary space called Giacomo Projects. Afterwards the Biennale itself was co-opted with “The Curatorial Placements” as documented in this exhibition.

Join us at PØST/Kamikaze, Monday, July 11, 7 – 9 p.m. for food, drinks and music of Italy. Ciao!

July 10, Daniel Aksten

2011-07-10T10:12:00.000-07:00

Metallic

Alexander Kroll

Aleve Loh

Rives Grande

Martin Durazo

Monica Furmanski

HK Zamani (2008)

Mark Dutcher

Daniel Aksten

Stephanie Pryor

"The Gold Rush Hour or There's Mirages in Them Thar Hills"

Why is it that humans (and magpies) are drawn to shiny objects? Evolutionary scientists say sparkly things reminds us of sunlight on the water, essential to our survival, transformed by desire into emotional satisfaction, interpreted by our subconscious mind as beauty. Is it the trickle of a crystal clear stream, or the gleam of the ocean we see twinkling in the eyes of our beloved?

Metal things painted metallic, presumably to make them seem even more... metal, became ubiquitous in design around the same time that office products threw off the oppressive 3M beige. Computers shed their khakis for the new black skin, with bronze highlights until they resembled obsidian monoliths flecked with fool’s gold. Outdoors lit by the California sun, every car, motorcycle and bicycle contour became imbued with the aura of finely crumpled foil. Inside, metallic paint was applied to plastics to transform every gadget into a shiny fetish object. As car bodies became ever more plastic, metallic paint loaned them authority. Metallic finish today distinguishes executive accessories from mere children’s toys.

Good luck finding a new car today that isn’t painted metallic. You may run across a rare flat primary: red or white, but both would look better with a candy or prismatic pearl coating. Metallics reveal volume by mysteriously shifting hues at odd angles. Unlike florescence or harsh op-art checkerboard patterns, the metallic retinal flash will never go out of fashion. Its biological.

Blessed as we are with a surfeit of sun in Los Angeles, the downside is a lack of fresh rainwater. New Yorkers seem to be conspicuously showing off if they hit the carwash between frequent showers. If left unwashed for a week in East LA, the deepest opalescent candy-apple low-rider with hundreds of layers of clear coat will grow a fuzz of crystallized smog toxic enough to etch glass.

Fortunately for West Coasters there are over 500 AutoZones in Los Angeles County. Even more Pep Boys. Within each retail giant is an entire aisle, maybe two, filled with nothing but car cleaning supplies. That is more shelf space than all the convenience store flower kiosks in the Big Apple, more total area than all the shoe stores in Manhattan-- dedicated to pungent chemicals and ShamWows.

The Pacific sun makes us do it. There is nothing quite like the buttery crepuscular rays of sunset to wake up every metallic glimmer aligned on a well-sculpted machine. It commands them to dance and twinkle like a far away star through mirage refraction off the surface plane. Washing the car is a sun salutation here. New York will never know what thirsty Angelino’s lizard brains hallucinate daily, sometimes for an hour or more, depending on your commute.

-Bill Wheelock

Nine artists and one writer embrace metallic, either as material or idea.

July 9, Jay Lizo

2011-07-09T11:10:00.001-07:00

Tyler Waxman curated by Jay Lizo

PØST / Kamikaze Exhibits
1904 East 7th Place
LA CA 90021

Tyler Waxman's, "The Innocence of Becoming"
Opening July 9th
Reception 7 p.m.- 9 p.m.

PØST is proud to present, "The Innocence of Becoming", a one night
solo exhibition by Tyler Waxman curated by Jay Lizo. Tyler is a process
driven artist in which his drawings are composed of a conglomeration of
obsessive mark making. Working as an artist and clinical psychologist, he
attempts to explore the conscious and unconscious workings of the mind. In
his large-scale drawings, Tyler lies on top of the paper on his studio
floor, while making meditative ink marks using a bamboo quill. The
drawings have an all over look, reminiscent of Mark Tobey's "writing"
paintings. Though, Tyler's work moves away from Tobey's as the marks start
to form into organic shapes and abstract landscapes. This starts to reveal
the artist's unconscious imagery and explorations. The show consists of
two large-scale drawings and a handful of smaller drawings. The works on
view act as a sort of visual diary of "automatic" mark making, revealing
the artist's most vulnerable moments in the studio.

Tyler Waxman received a Bachelor in Fine Arts from University California
of Santa Cruz and a Doctorate in Psychology from Alliant University. Tyler
has shown his drawings and paintings locally at spaces such as Sea and
Space, Los Angeles Municipal Art Gallery, and Monte Vista Projects in Los
Angeles and internationally in Stockholm at Loyal Gallery, in Leeds
England, and Amsterdam Holland. In addition, Tyler Waxman is on Medical
Staff at Childrens Hospital Los Angeles and provides clinical treatment
for high-risk adolescents.

July 2011 Kamikaze Exhibits:
In the month of July, PØST will present thirty-one different exhibits. The
July 2011 Kamikaze exhibits continue in the same tradition of
thirty or thirty-one Kamikaze exhibits that were presented at PØST in
September of 2009, July 2010 and January of 2011. Difficult times
invite difficult gestures. By design, these exhibits remain close to art
and distant from the other stuff. A book will be produced for each
Kamikaze month.

Kamikaze Artist-curators:
Daniel Aksten, Young An, Dawn Arrowsmith, Kireilyn Barber, Nathan
Bockelman, Kathrin Burmester, Carolyn Castaño, Angel Chen, Alice
Clements, Marjan Hormozi,Bettina Hubby, Susan Joseph, Alice Könitz, Kristi
Lippire, Jay Lizo, Farrah Karapetian, Karen Lofgren, Barry
Markowitz, Sandeep Mukherjee, Chris Oliveria, Jim Ovelmen, Dylan
Palmer, Joan Perlman, Mary Anna Pomonis, Danny Shain, Alysse
Stepanian, Coleen Sterritt, Steven Lee Stinnett, Devon Tsuno, Denver
Tuttle, HK Zamani.

For more information contact HK Zamani at 213 4881280, or
new@post-la.com, PØST 1904 East 7th Place LA CA 90021 USA
www.post-la.blogspot.com, http://www.postlosangeles.org/, or facebook

July 8, Bettina Hubby

2011-07-08T01:52:00.001-07:00

Rachel Roske

Landon Wiggs

Bettina Hubby

Honest Mystique

There are common elements in our approach to abstraction and the title alludes to the familiar, but the familiar inspired by something else entirely and presented just as unexpectedly.

Hubby's collages hoard and reinvent the sculptural, provocative, culturally signifying forms and action-packed moments from everyday media – then puts them together into contrasting amalgams that are unlikely, jarring and humorous.

Roske’s drawings on canvas examine shadows. The elusive subject becomes substantial and positive as the shadows fall on, flatten and frame the object the canvas.

Inform in form. Wiggs approaches visual language through lyrical arrangements of form. He makes the most of looking with the translation between form and language, by observing the syntax of objects, and revealing novelty in the written word.

July 7, Alysse Stepanian

2011-07-07T23:41:00.000-07:00

What I Don't See Can't Hurt Me:
The Aesthetics of Resistance

Agricola de Cologne

Sarah Stolar

Matthew Shain

Kathleen Quillian

Alysse Stepanian

July 6, Laura Parker

2011-07-06T23:34:00.000-07:00

Kireilyn Barber
Triplicity - new work in triplicate

Kireilyn Barber
Triplicity - new work in triplicate

curated by Laura Parker

The exhibition features three ongoing photographic series exploring constructed space and staged tableaus.

The Stillness of the Edges, Site 11, Sink

July 5, Keaton Macon

2011-07-05T23:00:00.000-07:00

Shortcuts And Pitfalls

Mette Hersoug

Cammie Staros

Simone Montemurno

Joshua Segura

Andy Brown

Jake Jones

Shortcuts And Pitfalls

Kamikaze July 5th

Andy Brown
Mette Hersoug
Jake Jones
Simone Montemurno
Joshua Segura
Cammie Staros

Knowing, and how we come to know has always been a part of the human experience. Everything from stories and fables to mathematical and scientific formulas have been passed down to us through oral traditions and visual aids, but the distribution of knowledge, and the implications of understanding/experiencing/living are more so than ever contingent on the vehicle on which it is delivered: language.

Whether written, audible or visual, language is what tethers us to each other. It fills in the gaps and provides shortcuts of legibility between my experience and others, but the shortcut often short circuits the experience and leaves us with something that is quantifiable yet abstract. However, language and the translational aspects of it is not a total loss. Something is there. In the translation, there is something that is of signification and something inextricably and inexplicably corporeal, something that is more than words. Something figural, yet simultaneously physical.

The artists in this show are invested in the current pitfalls and possibilities of this simultaneity. They work within a structure that they are both beholden to and critical of. Their works serves as explorations in a subject that is as fruitful as it is treacherous, with no end game in sight.

July 4, HK Zamani

2011-07-04T20:55:00.000-07:00

Sound in Performance

Jayne Parker

SRL

Bahman Ghobadi

HK Zamani

Press Release
July 4, 2011

Exhibition: Sound in Performance, Curated by HK Zamani
Including footage by Bahman Ghobadi, Jayne Parker, SRL and HK Zamani

Date: Monday, July 4, 2011
Reception: July 4, 7-9 PM

PØST
1904 East 7th Place
Los Angeles, CA 90021 USA
213 4881280

new@post-la.com
www.post-la.com
www.post-la.blogspot.com
www.postlosangeles.org
www.facebook.com/pages/PØST/127724447253272

Ever since attending the conference on Movement and the Visual Arts at the Getty Museum some years ago I can’t stop thinking about documentation and performance, how a camera, especially a movie or video camera, influences the performer.

The conference brought together a dynamic group of artists and scholars to participate in a day of lectures, dialogues, screenings, and performances that explored moments of intersection between the visual arts, dance, and other forms of cultural production.

Babette Mangolte presented "Movement, Motion, Velocity, and Stillness in Filmmaking," the importance of knowing a work well to have the ability to document it effectively, and also the urgency of a singular vantage point using for example in her film of Trisha Brown performing "Water Motor," 1978. Discussions argued toward optimality of documentation.

Peggy Phelan discussed movement in relation to a work of Eva Hesse, the migration of its components, apart and together. And Branislav Jakovljevic elaborated on The Energetics of Beuys's 'Coyote.’ All were very stimulating.

Using the energetics of that experience, in the exhibit Sound in Performance I thought to contrast sound next to sound, some more musical than noise, more refined than others, stretching the range of musician, to musician as actor, artist as performer, science kids as artist/performers. I worked intuitively with what seemed available to explore on this 4th of July, also the occasion motivated a touch of political for the moment.

Included in the exhibit is the footage from a SRL performance at PØST in 2002, films by Jayne Parker shown here in her exhibit Foxfire Eins in 2004, excerpts form the movie No One Knows About Persian Cats by Bahman Ghobadi, 2009, and Southern Veil that was a component of my exhibit Star Spangled Banner in Asheville, North Carolina in 2006.

July 3, Danny Shain

2011-07-03T09:45:00.000-07:00

Danny Shain

HK Zamani

Jeff Kopp / Richard Serra

Richard Diebenkorn

Chris Pate

Michael Pierzynski

Anders Lansing

Robert Levine

Trevor Norris

Press Release
July 1, 2011

Exhibition: epiphenomena

Date: July 3
Hours: Sunday , 7 - 9 pm

PØST
1904 East 7th Place
Los Angeles, CA 90021 USA
213 4881280
new@post-la.com

epiphenomena
In this exhibition PØST presents works found, made, or saved by Richard Diebenkorn, Jeff Kopp, Anders Lansing, Robert Levine, Trevor Norris, Chris Pate, Michael Pierzynski, Richard Serra, Danny Shain, and HK Zamani

An epiphenomenon (plural - epiphenomena) is a secondary phenomenon that occurs alongside or in parallel to a primary phenomenon.
The genesis of this show began many years ago when I was helping Richard Diebenkorn pack and move his studio from Santa Monica to Healdsburg. As we were working, Diebenkorn would occasionally offer up some thing he would rather give away than move, such as an old two step wooden ladder, or a random copy of the Paris Review. I said “yes” every time. At some point he was collecting up his paint trays, the palettes he mixed his paint in, ready to get rid of them. I asked if I could have them, rather than see them thrown away. Somewhat puzzled he agreed, but not before telling me that they were just developing trays, and I could get fresh ones just as easy. I replied yes, but I liked them the way they were. A fine example of “one mans trash is another man’s treasure”, Diebenkorn thought only of their utility to mix paint in, and I saw them as the poetic shadow to some of my favorite paintings. They are in fact both, which is why I prize them all the more.
In epiphenomena, I have tried to assemble a show of things, all found in the pursuit of art, but not made as the intended expression. In other words, these things are a kind of by- product, an aesthetic unintentionally realized on the way to somewhere else.

Danny Shain, curator

epiphenomena is one of thirty one shows in July as part of HK Zamani’s Kamikaze project at POST

Gallery hours through July are evenings, 7 - 9 or by appointment. For further information please contact HK Zamani at 213 4881280
or email new@post-la.com.

July 2, Carolyn Castaño

2011-07-02T09:26:00.000-07:00

Filmic with Ursula Brookbank & Jordan Biren

July 1, Devon Tsuno

2011-07-01T17:37:00.000-07:00

CASE STUDY: LØS ANGELES

Marie Thibeault

Susan Logoreci

Brian Boyer

Calvin Lee

RACING THE END from Warren Kommers on Vimeo.

FOR IMMEDIATE RELEASE
June 1, 2011

PØST
1904 East 7th Place
Los Angeles, CA 90021 USA
213 4881280

CASE STUDY: LØS ANGELES
Curated by Devon Tsuno

July 2011 Kamikaze Exhibits
One-day-exhibit: Friday, July 1, 7 – 9pm

Brian Boyer, Justin Dahlberg, Calvin Lee, Susan Logoreci, Matt Logue,
Alia Malley, Omar Ogues, Greg Rose, Shizu Saldamando, Marie Thibeault

Concrete Walls Projects presents a one-day exhibit organized for PØST’s July 2011 Kamikaze Exhibits series titled, Case Study: Løs Angeles. This exhibition is a curatorial case study, examining work by artists whose practice involves rigorous modes of research, as they document the microcosms of subculture and landscape that is the greater Los Angeles area. But unlike traditional gallery exhibits, which primarily function as an expedient dialogue between buyer and seller; the artist run space can subvert that dialogue, while maintaining a gallery’s purpose, in order to create a conversation among artists. This exhibit is designed to reveal diverse hypotheses in artistic investigation, in an effort to attain a community exchange and discourse among artists. These ten artists arouse the dialogue, as they work within the constraints of the two-dimensional picture plane to obsessively document and rediscover the ever-changing definition of Los Angeles.

Case studies: Los Angeles punk, Mount Waterman, Rodeo Drive socialites, Idyllwild, illegal downtown LA fix gear bicycle racing, LA Harbor, The Museum of Contemporary Art, Exposition Boulevard, and the 405 freeway.

FACEBOOK: https://www.facebook.com/event.php?eid=218265204860340
CONCRETE WALLS TUMBLR: http://concretewallsprojects.tumblr.com/
_________________________________________________________________________________

July 2011 Kamikaze Exhibits
In the month of July, PØST will present thirty-one different exhibits. The July 2011 Kamikaze exhibits continue in the same tradition of thirty or thirty-one Kamikaze exhibits that were presented at PØST in September of 2009, July 2010 and January of 2011. Difficult times invite difficult gestures. By design, these exhibits remain close to art and distant from the other stuff. A book will be produced for each Kamikaze month.

Kamikaze Artist-curators:
Daniel Aksten, Young An, Dawn Arrowsmith, Kireilyn Barber, Nathan Bockelman, Kathrin Burmester, Carolyn Castaño, Angel Chen, Alice Clements, Marjan Hormozi,Bettina Hubby, Susan Joseph, Alice Könitz, Kristi Lippire, Jay Lizo, Farrah Karapetian, Karen Lofgren, Barry Markowitz, Sandeep Mukherjee, Chris Oliveria, Jim Ovelmen, Dylan Palmer, Joan Perlman, Mary Anna Pomonis, Danny Shain, Alysse Stepanian, Coleen Sterritt, SLS, Devon Tsuno, Denver Tuttle, HK Zamani.

For more information contact HK Zamani at 213 4881280, or new@post-la.com,
PØST 1904 East 7th Place LA CA 90021 USA www.post-la.blogspot.com, http://www.postlosangeles.org/

July 2011 Kamikaze Press Release Week One

2011-07-01T17:35:00.000-07:00

Press Release
July 1, 2011 (Week One)

Exhibitions: July 2011 Kamikaze Exhibits
Thirty-one Curated Exhibits

Receptions: July 1 – 31, 7-9 PM, one each night

PØST
1904 East 7th Place
Los Angeles, CA 90021 USA
213 4881280

new@post-la.com
www.post-la.com
www.post-la.blogspot.com
www.postlosangeles.org
www.facebook.com/pages/PØST/127724447253272

July 2011 Kamikaze Exhibits

In the month of July, PØST will present thirty-one different exhibits.
The July 2011 Kamikaze exhibits continue in the same tradition of thirty or thirty-one Kamikaze exhibits that were presented at PØST in September of 2009, July 2010 and January of 2011. Difficult times invite difficult gestures. By design, these exhibits remain close to art and distant from the other stuff. A book will be produced for each Kamikaze month.

Artist-curators are:
Week One:

(July 1) Devon Tsuno:
Case Study: Løs Angeles with
Brian Boyer, Justin Dahlberg, Calvin Lee, Susan Logoreci, Matt Logue, Alia Malley,
Omar Ogues, Greg Rose, Shizu Saldamando, Marie Thibeault,

(July 2) Carolyn Castaño:
Filmic with Ursula Brookbank & Jordan Biren,

(July 3) Danny Shain:
epiphenomena with Richard Diebenkorn, Jeff Kopp, Anders Lansing, Robert Levine, Trevor Norris, Chris Pate, Michael Pierzynski, Richard Serra, Danny Shain, and HK Zamani,

(July 4) HK Zamani,
Sound in Performance with Bahman Ghobadi, Jayne Parker, SRL, and HK Zamani

(July 5) Keaton Macon, (July 6) Kireilyn Barber,

(July 7) Alysse Stepanian,
what I don’t see can’t hurt me: the aesthetics of resistance with
Wilfried Agricola de Cologne, Kathleen Quillian,
Matthew Shain, Alysse Stepanian, Sarah Stolar
(July 8) Bettina Hubby, (July 9) Jay Lizo, (July 10) Daniel Aksten,
(July 11) Dawn Arrowsmith, (July 12) Farrah Karapetian, (July 13) Steven Lee Stinnett,
(July 14) Sandeep Mukherjee, (July 15) Marjan Hormozi, (July 16) Alice Könitz,
(July 17) Joan Perlman, (July 18) Alice Clements, (July 19) Kathrin Burmester,
(July 20) Young An, (July 21) Coleen Sterritt, (July 22) Kristi Lippire,
(July 23) Jim Ovelmen, (July 24) Chris Oliveria, (July 25) Barry Markowitz,
(July 26) Mary Anna Pomonis, (July 27) Karen Lofgren, (July 28) Denver Tuttle,
(July 29) Nathan Bockelman, (July 30) Susan Joseph, (July 31) Dylan Palmer

For more information contact HK Zamani at 213 4881280,
send an email to new@post-la.com, visit www.post-la.blogspot.com,
www.postlosangeles.org, or www.facebook.com/pages/PØST/127724447253272

Adam Teraoka

2011-06-11T23:24:00.000-07:00

Adam Teraoka's PØST Residency in May 2011

with his Kamikaze One night Exhibit on Saturday June 11, 2011

Coagula Weekend Bender

Churchill Company: PØST Finale

July 2011 Kamikaze Artist-curators

2011-06-05T16:07:00.001-07:00

July 2011 Kamikaze Press Release

2011-06-01T16:58:00.000-07:00

Press Release
June 1, 2011

Exhibitions: July 2011 Kamikaze Exhibits
Thirty-one Curated Exhibits

Receptions: July 1 – 31, 7-9 PM, one each night

PØST
1904 East 7th Place
Los Angeles, CA 90021 USA
213 4881280

new@post-la.com
www.post-la.com
www.post-la.blogspot.com
www.postlosangeles.org
www.facebook.com/pages/PØST/127724447253272

July 2011 Kamikaze Exhibits

In the month of July, PØST will present thirty-one different exhibits.
The July 2011 Kamikaze exhibits continue in the same tradition of thirty or thirty-one Kamikaze exhibits that were presented at PØST in September of 2009, July 2010 and January of 2011. Difficult times invite difficult gestures. By design, these exhibits remain close to art and distant from the other stuff. A book will be produced for each Kamikaze month.

Artist-curators are:

(July 1) Devon Tsuno, (July 2) Carolyn Castaño, (July 3) Danny Shain, (July 4) HK Zamani, (July 5) Keaton Macon, (July 6) Kireilyn Barber, (July 7) Alysse Stepanian,
(July 8) Bettina Hubby, (July 9) Jay Lizo, (July 10) Daniel Aksten,
(July 11) Dawn Arrowsmith, (July 12) Farrah Karapetian, (July 13) Steven Lee Stinnett,
(July 14) Sandeep Mukherjee, (July 15) Marjan Hormozi, (July 16) Alice Könitz,
(July 17) Joan Perlman, (July 18) Alice Clements, (July 19) Kathrin Burmester,
(July 20) Young An, (July 21) Coleen Sterritt, (July 22) Kristi Lippire,
(July 23) Jim Ovelmen, (July 24) Chris Oliveria, (July 25) Barry Markowitz,
(July 26) Mary Anna Pomonis, (July 27) Karen Lofgren, (July 28) Denver Tuttle,
(July 29) Nathan Bockelman, (July 30) Susan Joseph, (July 31) Dylan Palmer

For more information contact HK Zamani at 213 4881280,
send an email to new@post-la.com, visit www.post-la.blogspot.com,
www.postlosangeles.org, or www.facebook.com/pages/PØST/127724447253272

New Website

2011-02-12T15:03:00.000-08:00

PØST

Brad Eberhard Collaboration

2011-01-31T22:46:00.000-08:00

Brad Eberhard's band Wounded Lion and The Right Wing Jason Meadows and Evan Holloway will help celebrate and close the January Kamikazes.

Caroline Clerc Collaboration

2011-01-30T22:42:00.000-08:00

Caroline Clerc Collaboration with Helen Kim

Christopher Pate, January 29

2011-01-29T23:57:00.000-08:00

Amerigo

For my exhibition "Amerigo", I will be exhibiting one large painting and a group of works on paper. These works were spurred by contemplation of the European exploration and invasion of what came to be called America and the man this 'New World' was named after, Amerigo Vespucci. Vespucci was a curious character who happened to be in just the right place at just the right time to receive the honor of his name being eternally glorified in the naming of two continents. One could say he deserved the honor principally as a master self-promoter and clever huckster, whose inflated claims for his skills of navigation and tall tales of voyages at sea served to attract royal money to fund his explorations. Besides offering a compelling metaphor for the manner in which artists posture to fund their own explorations, there is obviously much to consider in terms of that moment in history when Native American cultures fell to disease and plunder by European invaders and how much, or how little, has really changed since then. The window into history may often be foggy and obfuscating, but certain traits of our forebears carry forth clear as day. The slick salesmanship behind the corporate machine finds no border that can't be traversed, no population that can't be effectively colonized. Amerigo Vespucci embodies this thirst for continual expansion.

Christopher Pate (born 1965 St. Louis, Missouri, raised in Boise, Idaho) has lived and worked in Los Angeles for over 25 years. He has spent this time investigating the role of painting and drawing in contemporary society, which led to a sequence of particular projects. In recent years, the work has coalesced into an amalgam of abstraction, representation, collage and pop imagery, forming principally abstract meditations on history and the imperfection of memory.

Solo exhibitions include “Flyover” at Jail, Los Angeles, CA, 2008, “Float Some and Jet Some” at Cartelle, Marina del Rey, CA, 2005, “Horizons and Archipelagos” at Roberts and Tilton, Los Angeles, CA, 2000, with an upcoming solo exhibition in March, 2011 at Marine, Venice, CA. Notable curatorial ventures include the series of four “Rogue Wave” exhibitions at LA Louver (2001-2009), “Hef” at Jail, Los Angeles, CA, 2008, and “Tripindicular” at Lemon Sky, Los Angeles, CA, 1999.

Miriam Dym, January 28

2011-01-28T22:44:00.000-08:00

4-letter words

Tim Nolan, January 27

2011-01-27T23:13:00.000-08:00

2011 Kamikaze Show

Katie Herzog, January 26

2011-01-26T23:03:00.000-08:00

“Gravity is Always Attractive” premieres Herzog's most recent work,
“Our Picture of the Universe,” combining cosmetology and cosmology in
a shared vision of universe and title. Stephen Hawking's "A Brief
History of Time" is the foremost populist scientific text attempting
to democratize hermetic theories using pictures and words in lieu of
equations. Hawking's book begins with a chapter titled "Our Picture
of the Universe," which is read by Ximena Navarrete, Miss Universe
2010, in the audio recording playing in the gallery. Navarrete was
born in Guadalajara in 1988, the same year Stephen Hawking's "A Brief
History of Time" was first published.

Katie Herzog is an artist and librarian living in Los Angeles. Recent
solo exhibitions include "Informel" at Actual Size, "Architecture
School Dropout" at the Southern California Institute of Architecture
cafe, and "Ecstasy of Municipality" at Whittier City Hall.

York Chang, January 25

2011-01-25T23:44:00.000-08:00

ALL DOGMA HAS ITS DAY

Ideology represents the imaginary relationship of individuals to their real conditions of existence
-Althusser

This work is heavily influenced by my recent exhaustive investigation into visceral realism, a short-lived Latin American conceptual art movement active in Argentina during the economic crisis in the 1990's. The visceral realists were engaged in creating new forms of institutional critique, and organized their own radical version of "happenings" that took the form of small riots in commercial galleries, museum takeovers, and abductions of curators. I continue to be drawn to their body of work for the manner in which it exemplifies the intersection between crisis, catastrophe, and creativity. The work in this show, which I consider to be a single installation, investigates the visual politics of violent spectacle and protest, and the close relationship between political extremism and the concept of a "suspension of disbelief" in literary theory.

Noah Thomas, January 24

2011-01-24T23:28:00.000-08:00

The Rover

Ruby Osorio, January 23

2011-01-23T22:33:00.000-08:00

Ladybird

Coleen Sterritt, January 22

2011-01-22T22:49:00.000-08:00

Blue Patina & a little cluster of love

Brian Doan, January 21

2011-01-21T23:39:00.000-08:00

New Work

Christian Mounger, January 20

2011-01-20T21:43:00.000-08:00

Friends of Dorothy

Dorothy Draper (1889 –1969) was the grande dame of interior design. Her over-the-top projects include The Greenbriar Hotel in West Virginia; it boasts a massive underground bunker built as an emergency shelter for the United States Congress during the Cold War. True to Draper form, the exterior décor of the bunker features a Chinoiserie, lattice-style wallpaper in antique white and chartreuse.
Other Draper projects are The Breakers Hotel, Palm Beach; The Greenroom, Los Angeles; The Mark Hopkins Hotel, San Francisco; and countless residences of the rich and famous.
20th century art history, HGTV, and the resurgent interest in modernist design all play influential roles in my work. Growing up in the 1950s and 60s, I did not distinguish between decoration, popular culture, and art, long before discovering Warhol. Now I credit both the wall drawings of Sol Lewitt and House and Garden magazine for my fascination with pattern and color.
When The Huntington remodeled and reinstalled the large European galleries a few years ago, followed by the American galleries, they hired me to draw silhouettes of many of the objects on display. This labor-intensive task provided an opportunity to study each object and construct a minimalist interpretation of each piece. Since that time, I have continued to explore similar objects – almost functionless Sevres vases and other complex decorative objects. Dorothy Draper appropriated similar pieces and iconic architectural forms, enlarging them to create theatrical environments with implied overlays of class and politics.
At Post, the wallpaper-like prints teeter between excess and a celebration of abundant living, while the security envelope patterns (primarily used by banks and credit card companies) suggest camouﬂage, bureaucracy, and trivial beauty. I collect these familiar designs, then insert them into constructions based on works by Jackson Pollock, Franz Klein, Clifford Still, Elsworth Kelly, and others, making their grand compositions less heroic, and more conspicuously decorative.
The Victorian tradition of collecting and cataloguing artifacts and natural specimens is another important influence. In the 19th Century, many domestic interiors boldly displayed exotic found objects usually without regard for the original context of the piece. The richly encyclopedic compilation The Grammar of Ornament by Owen Jones presented a catalogue of designs from a wide-range of cultures. Jones reinterpreted and compressed these images into the same printed media and scale, commodified and packaged for an eager, upwardly-mobile middle class.
Most of the wallpaper pieces measure 201/4 inches wide, the same width as a standard wallpaper sample at Home Depot. Each design is a tessellation that potentially could be printed in rolls suitable to enhance a modern dream house or renovated loft. The silhouettes are printed in gray on standard letter-size bond paper. The original size of each image was altered to fit the 8.5 x 11 format, producing a more democratic sense of scale.
Christian Mounger, 2011

Dan Bayles, January 19

2011-01-19T23:39:00.000-08:00

Eve Wood, January 18

2011-01-18T23:23:00.000-08:00

Judy Garland Never Liked Snails

This series of drawings is part of a larger grouping entitled "Childhood Apocrypha" which refers to things hidden away from view, spurious outlines of childhood memories, always unreliable, never clear, images, stories, lies, invented, constructed in the mind and designed to shield us from some larger trauma. Many of these images are downright funny, weird, other sweet and devotional like being a kid in the world and not knowing who to trust, but trusting anyway cause there's no other choice. Judy Garland represents the idea of the perfect childhood, broken, then glued back together again. It's never the same.

Ian Arenas, January 17

2011-01-17T22:17:00.000-08:00

Nancy Evans, January 16

2011-01-16T22:18:00.000-08:00

Liz Young, January 15

2011-01-15T22:11:00.000-08:00

Annie Lapin Collaboration, January 14

2011-01-14T22:52:00.000-08:00

Ideation Laboratory: Fingal’s Cave

Who:
Annie Lapin: makes paintings and usually doesn't perform them in
front of a crowd.
David Dominique: is currently a composer pursuing a Ph.D in Music
Composition and
Theory at Brandeis University and will be playing the Flugabone
Brian Walsh: Multi-reed madmen and one of the top clarinetists,
experimental and classical, working today
Eric KM Clark: Violinist, composer and experimental collaborator extraordinaire
Percussionist TBA
Lily Simonson: makes paintings that abstract romanticism through the
forms of underwater life, Anne Frank, and other things you wouldn't
expect

This is the first performance of an experiment meant to invoke the
totality of cultural material that comprises the “aura” of a physical
thing. It is a séance to channel the stream of cultural flotsam and
jetsam emitted or “inspired” by one place in particular; Fingal’s
Cave, which has been a beacon for Romantic thought and art for centuries.

Fingal’s Cave is a sea cave found on a remote island off the coast of
Scotland. Hexagonal columns of basalt jut up from the sea to create a
massive cavern, standing amid the waves like a strange ruin eroded by
millennia of tides. Countless composers, poets, playwrights, and
artists, from Mendelssohn and J.M.W Turner to Pink Floyd and Matthew
Barney have responded to this cave in some way or another, and
reflected upon it in their work.

The subject of the performance is not the cave itself, but rather the
chain reaction of cultural creativity it sets off. We are not
interested in the physicality that by chance or design apparently
calls forth an artistic response. We are responding instead to the
meta-symbol of Fingal’s Cave, the culmination of cultural ideation
generated in response to the original.

Operating under the premise that most works “inspired” by the cave are
in fact just another interpretation and further abstraction of this
meta-symbol, the performance sets up a series of interpretations, to
occur in real time. Each stage responds to the previous one, while
also bearing in mind all of the cultural effluvia that are antecedents
to the current performance. By displaying the process of ideation,
creation, and interpretation through two of the most prevalent mediums
that respond to the cave, painting and musical composing, our goal is
to channel the historico-cultural energy surrounding this icon in one
concentrated hour-long performance.

Painting begins the chain reaction, instantaneously followed by a
musical response by four musicians, and in turn, another painterly
response to that music. During the course of the performance, the
interpretations may switch course, and the works may influence each
other simultaneously in real time. Like echoes resounding and
mingling as they bounce off opposing walls of a cave, the responses
will feed off each other, reflecting upon the original but becoming
something else entirely as time goes on.

Dani Tull, January 13

2011-01-13T21:45:00.000-08:00

Odd Arkeology

For his one-day Kamikaze show at PØST, Dani Tull will exhume the contents of his studio Flat Files that contain works on paper spanning the past 15+ years.
Drawings, paintings, collages, and photos from various bodies of work will form improvised constellations that reach across the years creating unforeseen connectivity and a spontaneous discourse.
This exhibition presents a very unique opportunity for his audience to see many works never exhibited before, for a very brief period of time.

For more information, please contact dani@danitull.com or new@post-la.com.

Dana Duff. January 12

2011-01-12T21:17:00.000-08:00

Mishap

http://dndff.wordpress.com/mishap-video-installation-2011/

Megan Geckler, January 11

2011-01-11T21:03:00.000-08:00

Raffle

Allen Bollinger, January 10

2011-01-10T21:54:00.000-08:00

New Explorations on Paper

With this series, I am experimenting using oil and paint stick on heavy paper, the paint stick allowing a second layer of texture. I am also exploring the effect of cropping, a technique more commonly found in contemporary photography. Tension is created when the image appears to be hanging from the upper edge of the surface. My influences are a Pacific fusion with contributions from American abstraction, Chinese brush painting and calligraphy and Japanese tea bowl decoration.

Image information:

Larger works: Oil and Oil Stick on 300# Lanaquarelle Paper, 26"H x 52"W

Smaller works: Oil and Oil Stick on 300# Lanaquarelle Paper, 26"H x 26"W

Marie Thibeault, January 9

2011-01-09T21:49:00.000-08:00

Compilation

Rory Devine, January 8

2011-01-08T22:50:00.000-08:00

Drawings

Karen Lofgren, January 7

2011-01-07T22:39:00.000-08:00

Be Like Water

Dane Picard, January 6

2011-01-06T21:50:00.000-08:00

Littlewood's Circus

English mathematician John Littlewood's law of miracles states
that a person should expect a miracle once per month.
Littlewood bases this calculation on the definition of a miracle as
a one in a million event. I have long been enamored by the
ghost in technology and the presence of the human touch in art;
through this mathematical axiom, I attempted to put the pedal to
the metal.
In this body of work, I have attempted to augment the viewer’s
experience by creating a reality that is both commonplace, like a
subconscious memory of a television commercial, and at the
same time, as fantastical as faux quantum physics time travel
depicted in the next big sci-fi blockbuster movie. I strive in these
works to make art that brings the warmth of a lively conversation
with an old and trusted friend to the impersonal exactness of
electrons flowing across copper.
Thrilled by the DIY and open-hardware initiatives in recent years,
these works are a shift in my work, from an emphasis on video
back to electronics, my love affair that started circa first grade
with the first FM receiver I built. Shaped by the times and my
Pandora’s curiosity genotype, I am obsessed by hacking
everyday electronics and utilizing them in new and unique
forms.
My years in art school and love of drawing infiltrate my
carnivorous technological hunger and attempt to merge science
and art for the purpose of recontextualizing both creative
pursuits. I also want to open up a dialogue on the gap between
what is signified and the signifier. In the case of electronics, I am
aglow in the life and soul of electricity and code.

Dane Picard

Cole Case, January 5

2011-01-05T21:38:00.000-08:00

Headshots

These were the first portraits I made in 2009 as preparation for my new body of work, which is heavily figurative. My test models were all friends who are (or were) LA based visual artists. I liked the headshot format both for its technical and formal demands as well as its Hollywood reference point. I also wanted to document my friends at this stage in each of their lives both as artists and as people. (Cole Case)

Johanna Reed, January 4

2011-01-04T21:16:00.000-08:00

Everything Is Erotic Therefore Everything Is Exhausting
January 4, 2011, 7-9pm

Johanna Reed will perform "Everything Is Erotic Therefore Everything Is Exhausting," a devotional and participatory work that attempts to archive everything that is erotic in this world.

Participants are invited to contribute erotic offerings to the archive on January 4, 2011.

The resulting encyclopedia is handwritten, one entry per page, by the artist, and disseminated by participants leaving the pages in hidden public places around the world.

Gabie Strong, January 3

2011-01-03T19:21:00.000-08:00

Archaeological Expedition

Farrah Karapetian, January 2

2011-01-02T19:13:00.000-08:00

Farrah here is engaged in the most everyday of situations: living for
the duration of her Kamikaze show inside a simple lantern, she casts
shadows imbued with the subtle “gait, glance, and gesture” of her own
modern life (Baudelaire 1863.) Since 2002, she has worked primarily
with cameraless photography, using shadows to describe space and space
to determine the kinds of shadows at play in each of her works. She
describes much of this work as a photography of a sculptural field,
through which she creates images and forms that are "more like a
metaphor than a record" (Leah Ollman, LA Times). She received her MFA
from UCLA (2008) and her BA in fine art from Yale University (2000). A
MacDowell Fellow (2010) and an artist-in-residence at the Wende Museum
and Archive of the Cold War (2009), she recently completed a
commission for an atrium designed by Richard Meier & Partners at New
Pacific Realty in Los Angeles. She has had solo exhibitions and
projects with Sandroni.Rey (CA), Geoffrey Young (MA), and the Kantor
Gallery (NY), as well as group exhibitions both nationally and
internationally.

1904 Collective, January 1

2011-01-01T19:00:00.000-08:00

1904 Collective (Jan. 1): Fumiko Amano, Alice Clements, Michael Gomez-Burton, Justin Moore, Jim Ovelmen, Michael Wodkowski, HK Zamani

January Kamikazes

2010-12-20T21:43:00.000-08:00

Press Release

Exhibitions: January 2011 Kamikaze Shows
Thirty-one Solo Exhibits or Collaborations
Receptions: January 1 – 31, 7-9 PM, one each night

PØST
1904 East 7th Place
Los Angeles, CA 90021 USA
213 4881280 new@post-la.com

www.post-la.com

www.post-la.blogspot.com

January 2011 Kamikaze Shows

In the month of January PØST will present thirty-one different exhibits.
The January 2011 Kamikaze exhibits continue in the same vein as thirty or thirty-one Kamikaze Exhibits that took place at PØST in September of 2009 and July 2010. Difficult times invite difficult gestures. By design, these exhibits remain close to art and distant from the other stuff.

The participating thirty-one artists or collaborators are:

1904 Collective, Farrah Karapetian, Dimitri Kozyrev, Johanna Reed, Cole Case, Dane Picard, Karen Lofgren, Rory Devine, Marie Thibeault, Allen Bollinger, Megan Geckler, Katie Herzog, Dani Tull, Annie Lapin, Liz Young, Nancy Evans, Ian Arenas, Eve Wood, Dan Bayles, Christian Mounger, Brian Doan, Coleen Sterritt, Ruby Osorio, Noah Thomas, York Chang, Dana Duff, Tim Nolan, Miriam Dym, Christopher Pate, Caroline Clerc, Brad Eberhard

For more information contact HK Zamani at 213 4881280, or email new@post-la.com

September 19, 2009 Video Clips

2010-09-01T10:38:00.000-07:00

Aggression | Acoustics | Meditation | Movements, Part I
Curated by Megan Hoetger
Performances by: CoLab (Chris Baker and Nathan Bockelman), Dawn Kasper, and Ben Shaffer
New Video Clips

Review of the Kamikazes

2010-08-04T09:34:00.000-07:00

Review in Huffington Post by Annie Buckley

July Kamikazes Press Release

2010-07-31T23:16:00.000-07:00

Press Release
June 7, 2010

Exhibitions: July Kamikaze Shows
Thirty-one Solo or Group Exhibits

Receptions: July 1 – 31, 7-9PM, one each night

PØST
1904 East 7th Place
Los Angeles, CA 90021 USA
213 4881280
new@post-la.com
www.post-la.com
www.post-la.blogspot.com

July Kamikaze Shows

In the month of July PØST will present thirty-one different exhibits.

The July Kamikaze exhibits continue in the same tradition of thirty Kamikaze Exhibits that took place at PØST in September of 2009. Difficult times invite difficult gestures. By design, these exhibits remain close to art and distant from the other stuff.

The participating thirty-one artists and curators are:

Hilary Baker, Leonardo Bravo, Annie Buckley, Carolyn Castaño, Carol Cheh, Tim Christian, Young Chung, Robert Crouch/Yann Novak, Peter Frank, Elizabeth DiGiovanni, Doug Harvey, Salomon Huerta, Joseph Lee, Randy Leifer, Joan Kahn, Ali Kheradyar, Gregory Kucera, Alison Kudlow, Barry Markowitz, Jess Minckley, Justin Moore, Tricia Lawless Murray, Kristina Newhouse, Calvin Phelps, Ave Pildas, Max Presneill, Neal Rock, John Souza, Devon Tsuno, Marjan Veyghan, Annie Wharton.

For more information contact HK Zamani at 213 4881280,
or email new@post-la.com or check post-la.blogspot.com

Max Presneill (July 31)

2010-07-31T09:20:00.000-07:00

A Scattered Thought

Date: 31st July, 7-9pm

The paintings of Max Presneill reflect upon Hermetic moments within reconstructed histories and mythologized experiences and reconfigured relationships between fact and fiction. These forged connections that play between remembering, invention and the act of painting allow for fluid identities and the heightened poignancy of self-aware entropy, of the passage of one’s own time and essential singularity in the world. The paintings touch upon aspects of memory and transience that allude to situations, both specific and general, factual and imagined, in a form of visual existentialism. Isolated and de-contextualized, the source materials float in a sea of uncertainty, like our own reflection in a mirror, somewhat familiar but not quite us, what is seen differing from what is felt.

Annie Buckley (July 30)

2010-07-30T10:10:00.000-07:00

Anarchy

Reception: Friday, July 30, 7 – 9 PM

In this exhibition, PØST presents works by Wanda Boudreaux, Max King Cap, Kat Coyle, Helen Chung, Matthew Ohm, Dane Picard, Juan Velazquez, and Keith Walsh. Curated by: Annie Buckley.

Anarchy comes from the Greek and means “without ruler”. How this relatively neutral idea came to indicate the chaos and violence associated with it today is a study in history, psychology, and the exercise of human power. This exhibition seeks to explore another side of anarchy: the possibilities inherent in the organic organization of autonomous individuals acting freely and independently.

The first to identify his philosophy as anarchism was the Frenchman Pierre-Joseph Proudhon in the 1840’s. Proudhon’s conception of a society without a ruler, anarchy, was nearly the complete opposite of the bedlam now associated with the word; he conceived of anarchy as a harmonious and equitable society based on mutual aid, shared resources, self-determination, and true equality. These ideas played out in limited ways through the work and writings of anarchists including Spanish revolutionaries in the early 1900’s and Green activists in the 21st century.

This exhibition seeks an organizational framework based on anarchist principles including collaboration, independence, and mutuality. Artists and curator aim to co-organize every aspect of the exhibition, from inviting artists to planning and implementing the show and reception. In anarchist tradition, our small group is part of the larger cluster of autonomous artists, curators,and others, each offered the responsibility of shared space, PØST, by HK Zamani for the duration of their exhibition. Our exhibition is an experiment, albeit a relatively small and short one, in anarchist community. The results will depend on the ideas, actions, and choices of all involved. We invite you to the reception to look, discuss, participate, and offer your thoughts and presence.

Gallery hours and reception are from 7-9 PM. For further information please contact HK Zamani at 213-488-1280 or Annie Buckley at anniebuckley@sbcglobal.net.

Young Chung (July 29)

2010-07-29T10:30:00.000-07:00

Commonwealth

Press Release
July 29, 2010

Exhibition: Commonwealth

Artists: Lida Abdul, Erich Bollmann, Enrique Castrejon, Susan Choi, Eduardo Consuegra, Michael Decker, Cirilo Domine, Eve Fowler, Will Fowler, Vicente Golveo, kate hers, Koh Byoung Ok, Alice Könitz, Kristi Lippire, Tala Mateo, Maryrose Cobarrubias Mendoza, Lucas Michael, Max Miller, Sandeep Mukherjee, Gina Osterloh, Alvaro Perdices, Job Piston, Dean Sameshima, Anna Sew Hoy, Ethan Shoshan, Chris Sicat, Jeannie Simms, Jen Smith, Nodeth Vang, Matt Wardell

Curator: Young Chung

Date: July 29, 2010
Reception: Thursday, July 29, 7– 9 PM

PØST
1904 East 7th Place
Los Angeles, CA. 90021 USA
213.488.1280
new@post-la.com

(Gallery hours and receptions are 7-9 PM. For further information please contact HK Zamani at 213.488.1280 / new@post-la.com or Young Chung at 213.703.9077 / lovelessinla@gmail.com)

“Commonwealth”
Robert Summers, PhD

LA-based artist Young Chung selects artworks by 30 artists from Commonwealth Avenue. For over a decade, Chung has been gathering together works, which resonate with the personal, poetic, and political, through exchanges, purchases, and gifts. These artworks mark—perhaps, a (in)visible-spatio-temporal-psychic-stigmata—Chung’s personal relations, investments, and support for and with these artists and their works.

The title of this exhibition comes from both the name of the street Chung lives on, as well as the idea of “being(-)with” that resonates with his collection, and his part of a “community,” one could say a “commonwealth,” which is part and parcel to his desirous idea to create a(nother) type of commonwealth for various subjects and visualities. Hence, this exhibition aims to highlight particular artists, inclusions (and its attendant exclusions), reciprocity, and the intertwinement of people, places, and things. Furthermore, this exhibition asks us to critically think about what is meant by collecting, community, and commonwealth; indeed, how are such (contested) terms constru(ct)ed—especially in this era of the “politics of aesthetics,” to borrow from Jacques Rancière?

A series of interlocking ideas should be raised, which moves around and beyond this exhibition. These ideas are of critical importance, and have been re-thought for generations: what may we say of “commonwealth”? One thing may be said, crudely stated: the commonwealth is of, and for, “the people”—a “collective group,” a “community” imbricated in (the) politics (of aesthetics). What also may be said of the commonwealth? But, something else can be asked before the said: what precedes and exceeds the commonwealth—which is also to ask what is “wrong” with the common, community, consensus, as Rancière has asked? Let us go further: what undermines—even as it underwrites—the common(wealth)? The answer is rather simple: those of no (ac)count, which are those bodies in the commonwealth who (supposedly) have no voice—or are not heard—in the formation of the commonwealth, which they nevertheless “belong” to—precariously so. Indeed, every commonwealth is based upon a series of exclusions, which is true for everything, which is also to say there is incommensurability in commensurable. This point is raised here in order not to show the smoke and mirrors of consensus—but rather to surface Dissensus—which is tethered to (the) politics (of aesthetics).

Now, it is important to note that the artworks—these aesthetic objects—on display are those of “no (ac)count” within the staging and scripting of modernist art history (itself a highly political ideology—no matter how “natural” or “objective” it presents itself); hence, the artworks disrupt the narrative (a poor man’s teleology) of art history through their dissensus, their “redistribution of the sensible.” These artworks, as well as the exhibition, are, let there be no doubt, political in that they actively demand a recount in order to be taken into account: their voice will be heard, the intimate and attested relations (in-)between art and politics will be made visible—no matter how temporary. In this way, Chung has generously and genuinely put forward a series of various visualities that highlight the connection(s) between art and politics, the common and the uncommon (always inside the former). So, from one angle, it appears that what is surfaced here, that which ties the exhibition together, is what and how is art and politics (inter)related, and how are these related to the (un-)common of the commonwealth, so how to think through the commonwealth, otherwise? The answers to these questions may be unsettling, and they may irritate many, but they must be asked and critically thought through, which is an immediate and absolute engagement in (the) politics (of aesthetics) today.