Art at the Rendon // Stories: One Weekend

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This coming weekend, Art at the Rendon/Stories comes to the vacant hotel in DTLA that was home to an innovative series of art installations last June.

Activating the site November 9th through 11th, director Ralph Ziman and creative director Maria Greenshields-Ziman are offering an immersive experience that will turn the hotel into a stage and screen, exploring a fictionalized version of the building’s history.

The pair started brainstorming the idea in September, and found the large-scale installation a vast undertaking.

The most satisfying aspect of the project, Ziman says is “Definitely the innovative aspect of working with a group of like-minded people. From the performers to the production crew, we are blown away by the passion and enthusiasm Art at the Rendon has generated with Stories. Because of the organic nature of the collaboration, each person brings something new and exciting to the table, wholeheartedly investing their unique set of skills, imagination, and creativity. We planted a seed and it grew,” he enthuses.

Ziman adds “Putting on a public event is complicated, because there are so many elements. Each production issue that we solved seems to bring up another. Cindy Schwartzstein from Cartwheel Art has been at the helm of production logistics and without her we couldn’t do any of this. She and her team don’t ever seem to sleep.”

Schwartzstein curated and produced Art at the Rendon’s inaugural event, Hidden Rooms, and continues to direct The Rendon’s art programming. Other integral collaborators include production designer Jennifer A. Davis, cinematographer Stevie George, and media producer Nolan Silverstein.

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According to Greenshields-Ziman,  the exhibit’s inspiration was the character and history of the building, which served as the main catalyst. “We want to show glimpses into the lives of the people we imagined might have lived there. We wanted to activate the building from the inside and from outside. In addition to the scenarios within the walls of the hotel, there will also be projection mapping on the exterior. The mapping will combine a human analogue element with more surreal elements.”

The pair most want readers to explore the building in a “voyeuristic way, peeking into the lives of the inhabitants – characters – in each room. We want them to wonder:  How did this person get here? Where did they come from? Why are they acting the way they do? What will happen to them when I leave the room? We want to fire the audience’s curiosity.”

Ziman says the installation builds on the previous Art at the Rendon experience, Hidden Rooms, held in June. “The two events are similar in that they are both collaborative and immersive, with the rooms of the hotel and the dive bar as the main focus. Hidden Rooms was interactive and all about communication, in that the artists hung out and met with the patrons to talk about their work. Stories is mostly non-interactive. The guests are voyeurs, walking through the hotel.”

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Above, Hidden Rooms

Greenshields-Ziman notes “They can enter the threshold of each room but no further than a few feet. The performers carry on in the rooms as if they were at home in their own spaces, without interacting with anyone outside the performance. The audience and performers will have time to meet, have a drink, and converse in the bar after each show.”

The audience can move freely through two floors of the hotel, experiencing each room. Opera singer Rachel Staples Guettler will also perform live at the event.

Downstairs, the hotel’s corner dive bar, Licha’s Bar and Grill, is reimagined as a 1920s speakeasy with libations by Angel City Brewery, Infuse Spirits and Pali Wine. There will also be live music by The Vignes Rooftop Revival. All are based in the Arts District.

“Art at The Rendon seeks to bring communities together to celebrate the arts and the spirit of the district. Storieslike Hidden Rooms, is a fundraiser for local arts organizations. We brought together all sorts of local performers and creatives—including actors, musicians, and filmmakers, and we’ve had many DTLA Arts District businesses join us as community partners. It’s exciting to see so many coming together in a way that benefits the community, because that’s what Art at the Rendon is all about,” Ziman explains. 

STORIES continues Art at The Rendon’s commitment to the local arts community.  100% of proceeds benefit local arts organizations Inner-City Arts and Cornerstone Theater Company.

Don’t miss. Tickets available via Eventbrite, here. 
ART AT THE RENDON // STORIES
Friday, November 9 (7 – 10 pm)
Saturday, November 10 (7 – 10 pm)
Sunday, November 11 (6 – 9 pm)

The Rendon

2055 E. 7th Street
Downtown Los Angeles Arts District

 

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Nature/Nurture at MASH Gallery

 

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Curated by Andi Campognone, Nature Worship, at DTLA’s MASH Gallery through the 10th of November is a beautiful and enigmatic exhibition that is also innately accessible. It’s loveliness and grace are captivating; each of the artists has created resonant images of nature the remind us of the wonder of a forest, the perfectness of a flower or tree, and the fragility of our environment. It is a truly Californian show, in its palette, its light, its evocation of natural images that seem rooted in our wonderful and seemingly vast array of natural gifts, from Joshua Tree to mountain, from desert to sea, from forest to rock.

Artists include Kim Abeles, China Adams, Kelly Berg, Kimberly Brooks, Rebecca Campbell, Terry Cervantes, Samantha Fields, Sant Khalsa, Laurie Lipton, Haleh Mashian, Catherine Ruane, Allison Schulnick, and Lisa Schulte.

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Some works are precise, perfect, magical depictions such as Lisa Schulte’s gorgeous sculpture “Singularity of Light,” which literally and figuratively glows its depiction of Queen Palm seed pods or Catherine Ruane’s “Dance Me to the Edge,” a series that is both intimate and universal, a fragrant memory, a circle of sky, a seed, a winged insect.

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Others are more eliptical but no less wonderful, such as Haleh Mashian’s large-scale Crayola-like rainbow trees in “Natural Rhythms,”  below.

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Others look to the potential loss of beauty, and even depict loss itself in a way that evokes wonder, as with Laurie Lipton’s riveting “Personal Effects,” which gives us a literal wave of waste, bottles and cans, while perched in the middle of it, a young girl is busy with her phone. 

And still others give us a glimpse of humans in nature, and how it may succor and surround us, as with Rebecca Campbell’s “Night Watch.”

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This is a lush and passionate show, full of beauty and sorrow, hope and loss. It would be your loss if you miss seeing it in person: go downtown this weekend and enter a special landscape indeed.

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  • Genie Davis; photos: Genie Davis; installation photo above courtesy of MASH Gallery

Specter of Documentation at Durden and Ray

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Curated by Jenny Hager, Jennifer Celio, and Valerie Wilcox, Specter of Documentation – closing November 3rd at Durden and Ray – is the perfect show for today’s news cycle, and tomorrow’s memories.

Edgy and fascinating, the show features artists Sydney Croskery, Dani Dodge, Marielle Farnan, Ed Gomez, Claudia Parducci, Sabine Pearlman, Liza Ryan, Curtis Stage, Joe Wolek, Steven Wolkoff, and Tim Youd.

In a wide range of mediums, the artists take on the idea of documentation, of gathering and recording,  of saving and analyzing. In combination with this, the show deals with an unnamed phantom, a specter that haunts, or perhaps shifts a ghostly light onto the inner soul behind the prosaic.

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From the serene oil on panel visual postcards of nature by Croskery to her oil work of a jujjjyfruits box to the haunting devastation of Parducci’s charcoal on canvas “OK City,” there is much to dive into here.

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Surface viewing barely scratches the meaning of each image, which seem to be inhabited by an almost unearthly, biting, deeply felt knowledge the artists each seek to impart.

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There is the intricate shredded acrylic paint strip mosaic sculpture of Wolkoff’s “50 Girls I didn’t call” paired viscerally and sardonically with his “65 women who Charles Manson didn’t kill,” the perfect distillation of the recent Supreme Court nominee debacle.

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Woleck’s video sculpture “In the Foothills of Appalachia (Lipstick on a Pig)” offers a mysterious glimpse of a life we haven’t led, yet one that feels oddly prescient and familiar.

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Farnan’s photographic works shot in Forest Lawn cemetery edge on the surreal.

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Dodge’s striking installation “Khartoum” intricately sews stories clipped from the Los Angeles Times to velvet and polyfil, crafting a stunning horse’s head that evokes the iconic horse’s head depicted in The Godfather. Red thread binds the head, neck, and crumpled blanket to the ceiling as if with sinews torn from flesh or ribbons of blood. The horse’s eye has a pupil that reveals the orange-faced image of Donald Trump, the ultimate thug.

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Gomez’ mixed media sculpture “20th Century” reminds the viewer of Calder, a kite, a frozen field of kinetic energy all in one; modern, fragile, spooky.

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You want to see this show for so many reasons: it’s this day, this age, this year, this time; it will stay with you like a fragment of a mirror embedded in your skin and heart. And it’s a beautiful, strange, mysterious show: you learn from it without needing to understand; it reveals and compels with a silent power.

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Addendum: When in Rome…Durden and Ray just opened Los Angeles Is, Once Again  at the Gallery of Art, Temple University Rome. That exhibition is curated by Camilla Boemio and features Durden and Ray artists Dani Dodge, Ed Gomez, Sean Noyce, Max Presneill, Ty Pownall, Curtis Stage, Alison Woods, Gul Cagin, Roni Feldman, and Joe Davidson. If you’re aheaded abroad, that exhibition runs through November 22nd. The opening event included performance art by Sean Noyce and Katya Usvitsky.

Genie Davis; photos by Genie Davis (Rome photo provided by Durden and Ray)

Brewery Art Walk October 2018

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The Brewery Art Walk is a special occasion. Twice a year, artists open their studios, their homes, their hearts, and their creative souls to the general public.  With such intimacy, attendees gain insight into their artistic process, see works that they may not otherwise see, and have an amazing opportunity to purchase artworks often at significantly below gallery prices.

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It’s a process of discovery and joy – certainly one that we’ve been participating in for many years. I had a child the age of my grandson when I first visited this space 20 years ago, and if you missed experiencing the artwalk this fall, look for it in the spring.

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Where is the beating heart of the art scene in Los Angeles? Surprise: it’s not in the latest gallery with ties to the international scene, it’s not in the major museum show you’re planning to visit before the holidays. It’s right here where the artists literally and figuratively live through their work.

Here’s a brief look at some of the work we viewed this month.

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Route, Rut, Lane: A Karkhana Collaboration at Shoebox Projects, a mixed-media project co-curator Nancy Kay Turner describes as inspired by the historical Mughal workshop is a truly collaborative exhibition – each piece has elements created by all eight of the contributing artists.

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The layered, intricate pieces resemble tapestry; the works have descriptions of each artist’s contribution written on the back. The sense that these artists wove disparate elements into a cohesive whole is one impressive aspect of the exhibition, but perhaps best of all is the feeling of discovery inherent in each piece.

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Viewers can pull the visual threads apart as they examine each work, gaining insight into how they came together; they can analyze who did what and why; they can see how a collective community can shape a greater whole than one alone.

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It was the perfect way to start the day at the artwalk. The show’s location at Shoebox Gallery was also a great introduction to the cutting edge, fresh exhibitions the small but powerful gallery offers.

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Helmed by artist, curator, and general art guru Kristine Schomaker, the gallery offers exhibitions that are primarily the result of a month-long residency where artists create or mount bodies of work or installations.

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In the gallery’s The Closet, a compact installation space to the rear of the main room,  Kate Carvellas’ sensational cabinet of curiosities – found art sculptures that absolutely inhabited the space – is a riveting tour de force.

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Dani Dodge opened her studio to reveal glowing works in acrylic and mixed media from three different series, including a lush Paris-set selection of paintings, a series featuring heart rendering canines, and one focused on the circus life.

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It was an exciting glimpse into the artist’s wall art; Dodge is well known for creating powerful installations and sculptural work.

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Chenhung Chen’s sculptural art and drawings may be shaped by wires, cords, and crocheted copper but they feel inherently alive, as if they could, after dark, shift through time and space and shimmer into another realm.

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Ceramicist Skyler Bolton shaped stunning and practical art with unusual oxblood and periwinkle blue bowls, vases, cups, and plates.

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Randi Hokett’s mineral-based art involves the formations of crystals; new works were created on paper, both delicate and surreal, like intricate, sparkling, gem studded land masses being shaped before your eyes.

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Emily Elise Halpern offered shining abstracts and smaller works with vibrant words of wisdom inscribed on them.

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Teale Hatheway’s vivid, illumined works burst from the walls with light and life.

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Todd Westover’s blossoming floral works have evolved to include landscapes with houses and hills and trees; he experimented with prints of his work on scarves and bags and pillows, too.

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Jorin Bossen’s portraits are unusually evocative, suggesting so much more going on beneath the surface of each piece, as if we were invited into the subject’s personal intelligence.

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Jane Szabo’s photographic art is a mix of still life and portraiture each unique and poetic. Her still life work stands like a visual short story, full of rich detail that one wishes would expand into a novel of images. Faceless portraiture may seem an anomaly but for Szabo it is not; her specially crafted dress images are perfect stand-ins for the aspects of the human spirit they represent.

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At the Jesus Wall Gallery, a group of artists each displayed their work. Lena Moross’ large-scale nudes are watercolor dreams, lush and just this side of surreal; smaller works sold like proverbial hotcakes unframed from a table Moross manned, tributes to her prolific output and graceful style.

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Kristine Augustyn exhibited a wide range of work: female figures on newsprint, abstracts, minute landscapes.

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Her sense of color vibrates; each of these very different bodies of work are created with a striking palette and textural contrast.

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There was so much more of course, but this is a sampling of the bright artistic lights ready to shine for you when the Brewery Art Walk rolls around again in the spring. Don’t miss.

  • Genie Davis; photos: Genie Davis, Teale Hatheway and Kate Carvellas photos courtesy of artists