Events
  • Sitting in Sound

    Jul 15| Special Event
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    Jesse Fleming, A Theory of Everything, 2015, Installation view.
     
  • Opening Reception

    Jul 15| Special Event
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    L: Nora Slade, Kate Mouse Mickey Moss, 2014, Photo transfer and fabric paint on sweatshirt, cardboard and found objects. R: Marisa Takal, I Love My Sister, 2016, Oil on canvas, 65 x 50 inches.

    Opening Reception for the two-person exhibition of work by the Los Angeles-based artists Nora Slade and Marisa Takal

    Light snacks and refreshments.

    Exhibition on view July 15 - August 19, 2017.

    Bolsky Gallery located across from Ben Maltz Gallery, ground floor, Galef Center for Fine Arts.

  • Amelia Gray is the author of the short story collections AM/PM, Museum of the Weird, and Gutshot, as well as the novels Threats and, most recently, Isadora, published by Farrar, Straus and Giroux. Her fiction and essays have appeared in The New Yorker, the New York Times, the Wall Street Journal, Tin House, and VICE. She is winner of the New York Public Library Young Lions Award, of FC2's Ronald Sukenick Innovative Fiction Prize, and a finalist for the PEN/Faulkner Award. 

  • Image: BijaRi, On the rooftops of Santa Domingo-Savio neighborhood as part of the project Contando con Nosotros, 2011

  • Luis J. Rodriguez was Los Angeles Poet Laureate from 2014-2016. The twenty-fifth edition of his first book, Poems Across the Pavement, won a 2015 Paterson Award for Sustained Literary Achievement. He has written fourteen other books of poetry, children’s literature, fiction, and nonfiction, including the best-selling memoir Always Running: La Vida Loca: Gang Days in L.A. Rodriguez is also founding editor of Tia Chucha Press and co-founder of Tia Chucha’s Centro Cultural & Bookstore in the San Fernando Valley. In 2016 Tia Chucha Press produced the largest anthology of L.A.-area poets, Coiled Serpent: Poets Arising from the Cultural Quakes & Shifts of Los Angeles. Rodriguez’s last memoir It Calls You Back: An Odyssey Through Love, Addiction, Revolutions, and Healing was a finalist for the 2012 National Book Critics Circle Award. His latest poetry collection Borrowed Bones appeared in 2016 from Curbstone Books/Northwestern University Press.

  • Raised in Philadelphia, with roots in South Africa and Trinidad, Zinzi Clemmons’ writing has appeared in Zoetrope: All-Story, Transition, The Paris Review Daily, and elsewhere. She has received fellowships and support from the MacDowell Colony, Bread Loaf, the Fine Arts Work Center in Provincetown, and the Kimbilio Center for African American Fiction. She is co-founder and former Publisher of Apogee Journal, and a Contributing Editor to LitHub. She teaches literature and creative writing at the Colburn Conservatory and Occidental College. Her debut novel, What We Lose, as well as a second title, are forthcoming from Viking.

  • Louise Sandhaus is a graphic designer and graphic design educator. She was previously Director of the Graphic Design Program at CalArts where she currently is faculty. Her recent book on California graphic design, Earthquakes, Mudslides, Fires and Riots: California and Graphic Design 1936-1986, co-published by Metropolis Books and Thames & Hudson, has received laudatory reviews from The New York Times, The Guardian, Eye, and Creative Review. The book received the Palm d’Argent for best art book at FILAF (International Festival of Art Books and Films on Art).

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Patterns Bigger Than Any of Us: Jesse Fleming and Pat O'Neill

May 7 – August 12, 2017

A two-person exhibition of recent large-scale video installations from Los Angeles-based artists Jesse Fleming and Pat O’Neill. Each artist raises questions in his work about the self in relation to others, collective norms, and the built environment. 

In a Los Angeles Times review of Pat O’Neill’s solo exhibition at Cherry and Martin, art critic David Pagel compellingly described the open-ended nature of the artist’s work, stating that it is, “…all about loose ends, rough edges and patterns bigger than any of us.” (Pagel, 2015). This assertion points to a line of inquiry present in both Pat O’Neill and Jesse Fleming’s individual practices. Although distinct in their process and subject matter, each artist raises questions in his film and video work about the self in relation to others, collective norms, and the built environment. They direct us to see the links and fissures in our lives and the larger systems that we attempt to grapple with — from science to spirituality, and the spaces they straddle.   
 

O’Neill’s two-channel projection environment, No Wonder - Two Skins (2013) fills the front half of the Ben Maltz Gallery, and Fleming’s multichannel video installation, A Theory of Everything (2015) occupies the back. This presentation creates a chronological bridge between the works, suggesting a comparison of American society of the past and present. Both artists mine and collage found and original footage to create a new story, void of straight narrative and cinematic convention. O’Neill draws from the ephemeral films in the Prelinger Archives, which include thousands of titles produced by and for corporations, interest groups, and institutions that are now in the public domain. No Wonder - Two Skins combines various clips from the 1940s/50s that include educational tutorials about health, relationships, and science, as well as landscape and industrial scenes. Fleming sources videos from YouTube that depict more recent events such as a TED Talk, dance rave, and drumline performance. Through an act of recontextualization, Fleming and O’Neill offer a critical perspective to consider these forms of mass gathering, promotion, and propaganda.
 

Jesse Fleming (b. 1977) is part of an emerging group of artists and technologists that examine the convergence of media art and mindfulness. Recent solo exhibitions were held at Five Car Garage; 356 Mission; and Night Gallery, all in Los Angeles, CA; and the University of Texas in Austin, TX. His work has been presented by various art and cultural organizations, including the Massachusetts Museum of Contemporary Art in North Adams, MA; Hammer Museum in Los Angeles, CA; Borusan Contemporary in Istanbul, Turkey; National Film Museum in Frankfurt, Germany; Creative Time in New York, NY; and the San Francisco Symphony. His work is in the permanent collections of the Whitney Museum of American Art in New York, NY and Borusan Contemporary in Istanbul, Turkey.


Pat O’Neill’s (b. 1939) artistic and filmmaking career spans over 50 years, and he is highly-regarded for his experiments with film and optical printing. Recent solo exhibitions were held at Berkeley Art Museum and Pacific Film Archive in Berkeley, CA; Monitor in Rome, Italy; VeneKlasen/Werner in Berlin, Germany; Quinta do Quetzal in Vidigueira, Portugal; Mitchell-Innes & Nash in New York, NY; and Cherry and Martin in Los Angeles, CA. His work has been included in major exhibitions such as Electric Art at the University of California, Los Angeles in 1969; the 1991 Whitney Biennial of American Art; and Los Angeles 1955-1985: The Birth of an Art Capital at the Centre Pompidou in 2005. He has participated in several prestigious international film festivals, in cities including Toronto, Canada; London, United Kingdom; and Vienna, Austria. His work is held in major museum collections, including the Carnegie Museum of Art, Pittsburgh, PA; Centre Pompidou, Paris, France; Hammer Museum, Los Angeles, CA; San Francisco Museum of Modern Art, San Francisco, CA; and Whitney Museum of American Art, New York, NY.

Images, top and bottom: Jesse Fleming, A Theory of Everything, 2015. Video stills. Middle: Pat O'Neill, No Wonder - Two Skins, 2013.
 


Jesse Fleming, A Theory of Everything, 2015. Video still.


Pat O'Neill, No Wonder - Two Skins, 2013. Video still.


Jesse Fleming, A Theory of Everything, 2015. Video still.


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