Events
  • In conjunction with the current exhibition Patterns Bigger Than Any of Us: Jesse Fleming / Pat O'Neill in Ben Maltz Gallery, May 7 - August 12, 2017.

    In Conversation: Jesse Fleming and Pat O'Neill, moderated by LA-based idependent curator and historian Ciara Moloney

     

    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.

    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.

    Ciara Moloney is an independent curator, editor, and writer based in Los Angeles. She was formerly Curator of Exhibitions and Projects at Modern Art Oxford where she curated exhibitions by Barbara Kruger, Josh Kline, Lynn Hershman Leeson, Christian Boltanski and Kiki Kogelnik.

  • 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. 

  • 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).

  • Photo Credit: Jesse Pniak

     

    F. Douglas Brown received the 2013 Cave Canem Poetry Prize (selected by Tracy K. Smith) for Zero to Three, published by the University of Georgia. He also co-authored the chapbook Begotten with Geffrey Davis as part of Upper Rubber Boot Book's Floodgate Poetry Series. Both a past Cave Canem and Kundiman Fellow, his poems have appeared in the Academy of American Poets, The Virginia Quarterly, Bat City Review, The Chicago Quarterly Review, The Southern Humanities Review, The Sugar House Review, Cura Magazine, and Muzzle Magazine. He is co-founder and curator of un::fade::able - The Requiem for Sandra Bland, a quarterly reading series examining restorative justice through poetry as a means to address racism. Brown currently teaches English at Loyola High School in Los Angeles.

  • Emily Raboteau’s nonfiction work Searching for Zion was named a best book of 2013 by the Huffington Post and the San Francisco Chronicle, and was a finalist for the Hurston Wright Legacy Award, grand prize winner of the New York Book Festival, and a winner of a 2014 American Book Award. She is the author of a novel, The Professor’s Daughter, and her fiction and essays have been published and anthologized in Best American Short Stories, the New York Times, The New Yorker, Tin House, Buzzfeed, LitHub, The Guardian, Guernica, Virginia Quarterly, The Believer, and Salon. Other honors include a Pushcart Prize, the Chicago Tribune’s Nelson Algren Award, and fellowships from the NEA, the Lannan Foundation, and the MacDowell Colony. Raboteau teaches creative writing at City College in New York.

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Alumnus Kenzi Shiokava Hailed as Breakout Star of Hammer Museum Biennial

The Hammer biennial's breakout star? A 78-year-old retired gardener from Compton who once worked for Marlon Brando
By Carolina A. Miranda

When artist Kenzi Shiokava ('74 MFA) received a telephone call from a pair of curators organizing this year’s “Made in L.A.” biennial at the Hammer Museum, he says he had little clue of the meteoric effect it would have on his life. 

“I’d never seen ‘Made in L.A.,’” says the 78-year-old sculptor. “I’ve always been off the art establishment.”

But as he does with anyone who is interested in seeing his work, he invited the curators — Hamza Walker and Aram Moshayedi — to his studio so that they could have a look at his totemic wood sculptures, junk-art assemblages and curiosity boxes featuring orderly, patterned displays of old toys, plastic fruit and discarded religious ephemera.

Shiokava says he was buoyed by the visit but subdued in his expectations. “Lots of shows come and go,” he says, as he surveys a row of partially carved tree limbs lining a wall of his studio.

But the biennial has been quite a different experience. “I didn’t know it’d be like this,” he says with a resplendent grin. “The response has been amazing.”

Shiokava, who has quietly whittled tree trunks and old telephone poles into mystical shapes in an old Compton body shop for several decades, made his living as a gardener for much of his life — including, at one point, for Marlon Brando. And yet he’s one of the breakout artists of the Hammer’s buzzy biennial, which opened to a warm critical embrace late last month.

Shiokava has been profiled on public radio and had a major Brazilian daily come calling for an interview (he was born in Brazil).  W Magazine referred to him as one of the show’s stars.  And a stream of collectors have been making the pilgrimage to a strip of light industrial spaces on West El Segundo Boulevard to see the tidy arrangements of collages, carvings and assemblages that make the artist’s workspace feel like an all-consuming environmental installation.

Walker, the biennial’s guest co-curator (he is an associate curator at the Renaissance Society in Chicago), says he stumbled into Shiokava’s work online while researching another artist. Calls to an art space in Reno, where the artist had exhibited  in 2008, along with another to Cause Gallery, in L.A.’s Chinatown, which held a small number of his pieces, turned up his contact information.

The curator says that from the moment he stepped into Shiokava’s studio, early in 2015, he was sure that this was an artist he wanted to include in the show. 

“It was pretty immediate,” he says. “We were both speechless within 10 paces of the entrance. There were all of these totems right up front and we were like, woooowwww.”

For the exhibition, Walker says that he and Moshayedi, who is a curator for the Hammer, were looking to show a limited number of artists (roughly two dozen) — but to represent each of them with an extensive number of pieces.

“The idea was to feature a substantial project or body of work,” he explains. “When we saw Kenzi, we thought, ‘This confirms what we want to do.’” The biennial currently has 66 works by the sculptor on view.

Shiokava, who is exceedingly gracious and warm  — he greets even first-time visitors to his studio with a hug — and possesses a bubbling energy that belies his age, couldn’t be more pleased.

“What’s always kept me going is people coming to my studio and enjoying the work,” he says in his deeply accented English. “But now I know my work will have a legacy. My work will live.”

 

Read the full article....

Source: http://www.latimes.com/entertainment/arts/miranda/la-et-cam-kenzi-shiokava-hammer-museum-20160705-snap-story.html

Image: Sculptor Kenzi Shiokava sits before works in progress in his Compton studio. (Wally Skalij / Los Angeles Times)

 

 

 

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