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Gallery Hours : Tuesday - Saturday,11am - 5pmor by appointment |
Schedule of Events |
Fall 2000 |
"Bad Directions"
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| Image from: Trying to Get a Picture of the Full Moon While Driving My Truck in Los Angeles on the First Day of 1999, by Ken Fandell |
November 3 - December 16, 2000
Opening Reception: Friday, Nov. 3rd, 5 - 8pm
The shortest distance between two points is rarely the most interesting. Clear examples and good directions may be necessary for efficiency, but efficiency is rarely an artist's goal. Sometimes it's worth taking bad directions to arrive at interesting artistic destinations. "Bad Directions" presents the work of seven contemporary artists who take the long way around.
Organized by Advisory Committee member Matthew Girson.
Including work by:
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The finished paintings of David Driscoll look like electron microscope photographs but his process is far removed from any technologically advanced equipment. Driscoll mixes paint in a blender then pours it across his surfaces allowing solvents, binders and pigments to react, separate and roll into magically luminous abstract paintings. |
| Green, White, Black, 1997, 13" x 14", Mixed media, David Driscoll |
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Ken Fandell is represented in this show by two bodies of work. The first is a series of photographs taken of the moon while speeding across Los Angeles in his pick-up truck. The second is an installation of methodical line drawings on graph paper. Each series addresses the traditional subject of the artist's hand at work without looking anything like traditional artwork. |
| Trying to Get a Picture of the Full Moon While Driving My Truck in Los Angeles on the First day of 1999, Color photographs, Ken Fandell |
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Andreas Fischer solicits drawings from friends and strangers and projects them onto his canvases. Original sources become confused with the artist's own hand and studio decisions. |
| Reproductions of drawings of my x-girlfriends by my current girlfriend that I made with my current girlfriend's lipstick, 1999 (detail), Acrylic and lipstick on canvas, 59"x 43", Andreas Fischer |
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Andy Hall believes all a painting needs is a surface with some marks on it. One piece in this exhibition is a flat painted panel revealing places where other panels have been removed. Other works are made by painting through stencils attached to the sides. |
| One Point, 2000, 57"x 64" Oil on canvas, Andy Hall |
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Cheonae Kim's work in this exhibition exists somewhere between wall drawing and painted installation. Her painted panels spread across the largest wall in Gallery 312 create an abstract composition of architectural proportion. |
| Site-specific project for the Hammer Museum/UCLA, 2000, Painting installation by Cheonae Kim |
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D'Nell Larson weaves sequins with monofilament. The result is part surface, part object and part illusion. Like many paintings from the past 200 years, these works demand to be looked at, looked through, and looked into simultaneously. |
| The Space Between Us, 2000, Mixed media, D'Nell Larson |
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Scott Short repeatedly photocopies colored construction paper until the machine produces an image. The degenerated abstractions are then hand painted and exist somewhere between animal hide and late modern abstract painting. |
| Untitled (brown), 1999 (detail), Oil on canvas, Scott Short |
