• Sitting in Sound

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

    Jul 15| Special Event

    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).


Bolsky Gallery

Liz Cardman Exhibition

APRIL 14 – 22, 2017
The Purge
April 22, 2017 10am

Liz Cardman Image

Los Angeles, CA – Bolsky Gallery is pleased to announce the opening of Culver City, Los Angeles, CA, the inaugural solo exhibition of Los Angeles-based artist Liz Cardman, on view at 9045 Lincoln Boulevard, Los Angeles, CA 90045 from April 14–22, 2017. The gallery will host a special opening reception on April 20, from 6 to 9 p.m.

Culver City, Los Angeles, CA will feature a collection of paintings depicting both landscapes and interior spaces from various places throughout California, North Dakota and Idaho. Drawn from Cardman’s experience of living in a tent for several years, each painting represents a specific time and place in the artist’s life as she calls on the memories of being adrift without a permanent home and explores both the relationship between public and private space and the definitions of interior and exterior environments. These ideas are underscored by the integration of the artist’s tent in each painting, which she uses as an anchor to represent her nomadic journey and as a symbol for isolation, sanctuary, loss of innocence and self-realization. In keeping with the theme of a nomadic life, all the paintings will be given away at the end of the show in an event called The Purge.

With what Cardman describes as “unrealness,” the pieces play with perspective, color and ratio, using purposeful misalignment to force the images to “fall off” the canvas. Additionally, each piece is accompanied by a background story detailing the inspiration and history for the works. In an excerpt from the narrative behind the painting, Bahia de Los Angeles, Baja, California, the artist writes, “We woke as the sun was just peeking up from the sea. Everything was awash in pale blues, purples and teals. The two of us sat there watching the sun coming up, eating warm mangoes we had gotten out of the car…the water, as warm as a bath, washed the sticky mango off my peeling skin…we spent the next couple days there, in the Bay of L.A., Danny carefully putting my broken pieces back together.” These short essays will be compiled into a zine and made available to take home.

In an unexpected twist, Cardman will be offering all paintings of the series to be claimed by anyone, free of charge, allowing herself to move on and start anew. This effort has been officially titled as The Purge, and it begins promptly at 10 a.m. on Saturday, April 22, 2017, and comes with only one covenant: the new owner must sign a binding contract permitting the artist to place the piece in future shows, and stipulates that the artwork never be disposed of or change hands, but instead be returned to her if no longer wanted. This unique approach defies the expectations of the art marketplace and challenges the relationship between creativity and commerce; otherwise known as the eternal conflict of every artist: how to preserve authenticity in one’s work while making a living from it. Never one for conformity, Cardman explains this choice by saying, “By having people sign a contract, I am acknowledging the art market, but undermining it by giving my work for free.”

Born in London in 1984, Liz Cardman has lived in Dallas, San Francisco and other various cities throughout northern and southern California, settling in Los Angeles in 2003. She received her B.A. in Art from UCLA and most recently, her MFA in Fine Art from the Otis School of Art and Design.

For additional information, please contact Bolsky Gallery at (310) 846-2614.