About Pacific Standard Time: Art in L.A. 1945 – 1980
Pacific Standard Time is a collaboration of more than sixty cultural institutions across Southern California, coming together for six months beginning in October 2011 to tell the story of the birth of the Los Angeles art scene and how it became a major new force in the art world. Each institution will make its own contribution to this grand-scale story of artistic innovation and social change, told through a multitude of simultaneous exhibitions and programs. Exploring and celebrating the significance of the crucial post-World War II years through the tumultuous period of the 1960s and 70s, Pacific Standard Time encompasses developments from L.A. Pop to post-minimalism; from modernist architecture and design to multi-media installations; from the films of the African American L.A. Rebellion to the feminist activities of the Woman’s Building; from ceramics to Chicano performance art; and from Japanese American design to the pioneering work of artists’ collectives.
Initiated through $10 million in grants from the Getty Foundation, Pacific Standard Time involves cultural institutions of every size and character across Southern California, from Greater Los Angeles to San Diego and Santa Barbara to Palm Springs.
"my teacher asked me to kill her husband and i'm going to. i really am. she told me she loves me."
HOME.SWEET.HOME - Gerald Slota and Neil LaBute
ROBERT BERMAN GALLERY C2 1.7.12 - 2.4.12
Opening Reception on Saturday, January 7, 2012, 5-7 pm.
Performance to follow at City Garage Theater at Track 16 Gallery at 8 pm.
ROBERT BERMAN GALLERY is pleased to present HOME.SWEET.HOME: a collaborative exhibition of images by
artist/photographer Gerald Slota with captioning by celebrated playwright/filmmaker Neil LaBute.
The exhibition first debuted in New York City in the fall of 2010 at the Ricco/Maresca Gallery and is the result of an email
correspondence between Slota and LaBute from 2008-2010, initially born as a greeting card series that developed into an
eighteen text-and-image photographic print narrative of innocuous, suburban domesticity gone subtly and deeply awry.
At the beginnings of their email pen-pal-ship, LaBute suggested investigating a “family affair confessional” as a central theme
and soon after offered this evocative thought: “the baby stopped crying hours ago. i’m afraid to go upstairs and check it.”
Thus began a rich back-and-forth that produced a darkly familiar world inhabited with twisted characters branded with each
artists’ unique point of view. Slota’s layered, collaged imagery blurs and then brings into focus the disturbing consequence of
LaBute’s seemingly innocent dialogue with a latent one-two punch. The final outcome as coined by Fluence Magazine is
“inescapably provocative and decidedly memorable.”
HOME.SWEET.HOME opens January 7th in conjunction with City Garage Theater’s west coast premiere of LaBute’s 1980s play
Filthy Talk For Troubled Times subtitled “scenes of intolerance” at Track 16 Gallery also in Bergamot Station Arts Center.
Originally set in a topless bar, City Garage, working with LaBute, is presenting the play in the entirely new setting of a high-end
art gallery opening. Tickets and more information available at www.citygarage.org.
Neil LaBute is a writer/director for theater, film, and television, and, on occasion, writes short stories and non-fiction. His newest
play, IN A FOREST, DARK AND DEEP made its debut in London in March of 2011 and his play REASONS TO BE PRETTY is
currently playing at the Almeida Theater in London.
Gerald Slota has been widely exhibited across the US and abroad. His work is included in collections at the LA County Museum
of Art, and the Whitney Museum of Art. His images have appeared in The New York Times Magazine, The New Yorker, New York
Magazine, BOMB, Blindspot, ARTNEWS, and Art in America. Los Angeles Times.com review of the exhibition: "Neil Labute tries his hand at an art gallery show"
Photo by Ted Soqui
Just Occupy Group Exhibition with photographers Christopher Felver, Ted Soqui and Shepard Fairey
January 14 - February 2012
Opening Reception: Saturday, January 14, 2012, 7-10pm
Above Image: Russ Tamblyn, Untitled (World), 1977, Mixed media collage, Signed on recto,
Provenance: From the Dennis Hopper Collection, Image: 54 x 48 inches; Framed: 55 x 48.25 inches
LOST & FOUND Abstracting Los Angeles, A Consortium Exhibition of Different Disciplines, 1945-1980
November 19 - December 31, 2011
Opening Reception: Saturday, November 19, 5:00 to 7:00 pm
ROBERT BERMAN GALLERY presents LOST & FOUND/ABSTRACTING LOS ANGELES 1945 - 1980 – paintings, drawings, sculptures and assemblages from obscure and known artists who used different media to interpret the abstract expressionist movement with a Los Angeles twist. The focus will be post war works up to 1980. This exhibition will show different media relating to Los Angeles’ interpretation of modernism with an emphasis on the difference between Los Angeles and its East Coast counterpart.
Exhibition includes select works by Elsa Wagner, Stanley Tschopp, Ted Gilien, Eugene Berman, Jules Engel, Russ Tamblyn, John Grillo, Ben Talbert, Hans Burkhardt, James Gill, Paul Bruch, Norman Zammitt, Agnes Kellog, William Tunberg, Henrietta Berk, Joe Goode, Oskar Fischinger, Frank Lobdell, John Baldessari, Ed Kienholz, Bruce Conner, Craig Kauffman, Richard Newton, Carlos Almaraz, Llyn Folkes, Rico Lebrun Larry Bell, Eric Orr, Man Ray, Wallace Berman, Don Sorenson, John Altoon, Max Finkelstein and Robert Graham.
Guy de Cointet (1934, Paris - 1983, Los Angeles) was a French born artist who moved to California in 1968 and is recognized as one of the major figures of the Conceptual art movement. He explored his fascination with language through performance and drawing.
With the assistance of Florence Bonnefous of Air de Paris Gallery (Paris, France) - ROBERT BERMAN GALLERY is pleased to host a special, singular presentation of Guy de Cointet's My Father's Diary performed by one of his original actresses - Mary Ann Duganne Glicksman on Sunday, December 18, 2011 at 4pm.
Summary: On his deathbed, a man gives his daughter a book, a precious book, filled with texts, signs, diagrams, drawings. "This is my diary..." he starts to tell her, but too weak to give additional information he closes his eyes... forever. At this moment, the war breaks out, dragging along in its turmoil the young girl and the diary. Recalling for the audience these tragic events, she presents the large books and attempts to explain it page after page.
My Father's Diary was first performed by Ms. Glicksman on February 1, 1977 at the Fort Worth Art Museum in Fort Worth, Texas.
The performance will feature the original book prop courtesy of Air de Paris.
Additional My Father's Diary props are currently exhibited in Under the Big Black Sun: California Art 1974-1981, MOCA, Los Angeles, until Feb.13, 2012.
"My Father's Diary (1975), in which (Mary Ann Duganne) Glicksman tells a tale of fleeing war, while displaying, decoding and taking direction from a 'curiously shaped green book' filled with broken diagrams, hieroglyphic doodles and signifiers of other varieties, is De Cointet at his best; strolling the lines between symbolic systems, conjuring narrative words that open on the damnednest places, and having a laugh all the while. This is the stuff of his legend..."
-Graham T. Beck, Frieze Magazine, April 2009
Ann Duganne-Glicksman, Performance View, 2008, Festival STUK, Leuven Ann Duganne-Glicksman, Performance View, 2010, Auditorium de Louvre, Paris
PAID TO PLAY
September 17 - December 31, 2011
Opening Reception: Saturday, September 17, 5:00 to 7:00 pm
ROBERT BERMAN GALLERY presents PAID TO PLAY – an overview of the oft overlooked Southern California artists rooted in illustration, commissioned to create imagery for record albums, magazines, advertisements, et al. A genre dirtily linked to commercialism but nonetheless full of innovation, technique, artistic expression and speed.
“Fueled by a combination of intense demand, sleepless nights and brutal competition, the four men at the center of LA’s airbrush market – Dave Willardson, Charles E. White III, Peter Palombi and Peter Llyod – embarked on careers that produced iconic work for Playboy, Levi’s, the Rolling Stones, along with major studio films such as American Graffiti and Tron.” - Overspray: Riding High with the Kings of California Airbrush Art.
And the wrangler of these men was Mike Salisbury – the art director of West magazine, the Sunday supplement of the Los Angeles Times, beginning in the late 60s – who was for illustrators what Ferus Gallery was for beat artists – a platform to project Los Angeles cool to the world at large.
Though the visuals defined a generation, most west coast illustrators never landed the fine art jump with the aplomb of their east coast contemporaries like James Rosenquist, Tom Wesselmann and Andy Warhol. But perhaps the most convincing testament to the relevance of a movement largely branded as irrelevant would be the 1969 West magazine cover painted by Ed Ruscha, commissioned by Salisbury, which fetched $578,500 at auction in 2009.
Included in the exhibition are works by Willardson, White, Palombi, Llyod, George Petty, Bob Zoell, Mick Haggerty, Lou Beach, Van Hamersveld, Ben Talbert, John Altoon, Jim Heimann, Mark Ryden, Dennis Mukai and others.
Alex Murawski, Bob Hickson, Mark Ryden, Brian Zick, David Willardson and accompanying studio, Jose Cruz, Kim Whitesides, and Mark Fredrickson, What's So Funny, 1985, Mixed media, 18 inches x 10 feet
View selected images from the exhibition
Robert Heinecken, Recto/Verso No. 7,
Cibachrome print, 14 x 11 inches
Victor Landweber, Think Pink, 1974,
Digital pigment print, 34 x 24 inches
TRANSFORMATION Conceptual photography by Robert Heinecken and Victor Landweber
October 8 - November 12, 2011
Opening Reception: Saturday, October 15th, 5:00 to 7:00 pm (Originally scheduled for Oct 8 but changed due to the holidays)
ROBERT BERMAN GALLERY presents TRANSFORMATION – conceptual photography from Robert Heinecken and Victor Landweber, appropriating magazine imagery (the former) and paint chip color cards (the latter) as a companion show to PAID TO PLAY – an overview of California illustrators from 1945-1985.
PAID TO PLAY studies art used for commerce and TRANSFORMATION explores commerce used for art.
In Robert Heinecken’s Recto/Verso photogram portfolio – a single page from a mass circulation magazine depicting women and fashion is placed in direct contact with color photographic paper and exposed to light. The resulting image superimposes the visual and verbal information from the front and back of the magazine page without the use of collage, manipulation or other handwork.
Victor Landweber’s Cherie Holding Colored Cards is a photographic series shot in 1976 juxtaposing nudes with colored card paint samples.
Both series examine sexuality in relationship to consumerist culture and identity in the seventies and eighties as influenced originally by pinup images from the forties and fifties.
Recto/Verso was published by Landweber/Artists in 1989 in an edition of fifty plus ten artist’s proof sets. The portfolio is composed of twelve original 11” x 14” Cibachrome photograms, signed by the artist and presented in 16” x 20” museum board mats.
Twelve writers were each asked to address one of the Recto/Verso photograms. Their texts are printed on document-grade vellum slipsheets that overlay the prints. The writers include Alex Sweetman, Van Deren Coke, Irene Borger, Susie Cohen, A.D. Coleman, Claire Peeps, Lynn McLanahan Herbert, Mark Johnstone, James Enyeart, Annie Tucker, Joyce Fernanes, Billy Jay, A. Grundberg & J. Scully.
The portfolio also includes a vintage, numbered and signed copy from the original edition of Robert Heinecken’s 1968 Are You Rea portfolio of twenty-five lithographs with a new introduction by Alex Sweetman. Recto/Verso is in the permanent collections of Los Angeles County Museum of Art, San Francisco Museum of Modern Art, New York Public Library and Museum of Modern Art, New York.
Recent Works by Lauren Marsolier & Marc Fichou September 24 -
November 5, 2011
Gallery Reception: Saturday, September, 7:00 to 9:00 pm Robert Berman/E6 Gallery
1632 Market Street, San Francisco, CA 94102 On Saturday, September 24, 2011, E6 Gallery will celebrate the opening of Recent Works by Lauren Marsolier & Marc Fichou. In their first San Francisco exhibit, French artists Lauren Marsolier and Marc Fichou individually address what they describe as “the viewer’s relationship to viewing images.”
Responding to our present day simulated environments and realities, Marsolier creates photographic images that are intentionally suspect, capturing, as she states, “a place that does not exist, a place without a history.”
Unlike traditional photography, which seizes an instant of reality or a moment in time, Marsolier’s images are shot in different places and times over the course of several months, then layered and blended until the real and fabricated become a singularly unique image. The resulting hyper-real photographs feel like viewing a place we know, but can't quite identify.
It is this sense of disorientation in Marsolier’s work that deliberately inclines the viewer to contemplate the images as one would a painting, while curiously suspecting their fabricated nature. By contrast, Fichou’s featured body of work compels viewers to re-establish their relationship to subject and medium.
Attempting to reunite matter and its image, Fichou creates works containing their own memory, a record or recording of the past, blended with their material surface. His meticulous attention to the alchemy of that which isand that which was, is a Fichou notes, “a means to explore the conflict between escaping the real through the image and anchoring oneself to the real through matter.”
In Fichou’s recent works, instead of providing a window to an elsewhere as images commonly do, Fichou creates his images as a way to bring viewer’s attentions back to the materiality of the present, to the here and now. Inextricably interweaving matter and its image by embedding photographs and videos within the very materials used to construct the imagery they depict, Fichou integrates a form of simultaneity into his artwork where images instead of detaching themselves from matter, reflect themselves upon it.
Marc Fichou artist portfoltio
Ellwood T. Risk
September 3, 2011 – September 24, 2011
Opening Reception: Saturday, September 3, 2011 6:00pm – 9:00pm
ROBERT BERMAN GALLERY is pleased to present "Bad News" - a solo show from Los Angeles artist Ellwood T. Risk.
Transforming pistol targets into art since 2002 – Risk widens the scope of his bulls-eye for this survey of global affairs with the use of front pages from the Los Angeles Times and New York Times. Bad News launches what will be a long running series of newsprint based works made from both publications collected by the artist over the last twelve years.
In this particular collection – the whimsical cartoonish incarnations of the targets belie the serious nature of the headlines below. The layering of stained newsprint, targets and stenciling captured beneath a slick resin finish provide a depth of field for the artist to convey his signature political and social commentary with a sharp tongue and quick wit.
Citing Sigmar Polke, Hunter S. Thompson and William S. Burroughs as influences, Risk is a self taught, internationally exhibited artist whose work is a mainstay on the television landscape – most notably on Showtime’s CALIFORNICATION and HBO’s SIX FEET UNDER.
“There are few more potent, less obscure images than the target… Ellwood. T. Risk is making a statement, but it’s a statement he wants us to feel even sooner than he wants us to know… Finally, Risk insists we get beyond the callous distance that has abetted the moral and cultural, not to mention political decline of our country.” - Peter Frank (November 2007)
Jeff Charbonneau and Eliza French, Dividing Suns
Jeff Charbonneau and Eliza French Circumspect
July 30 – September 14, 2011
Saturday, July 30, 6:00 to 8:00 pm Robert Berman/E6 Gallery
1632 Market Street, San Francisco, CA 94102
“Charbonneau and French’s work adds to the neo-dandy trajectory explored by such flamboyant self-documenting pairs as Pierre et Gilles, McDermott & McGough, and Gilbert and George. Now, however, dandyism has been given a noir edge.” -Peter Frank, On View
JUNE 2011, SAN FRANCISCO, CA. – Los Angeles based collaborating photographers Jeff Charbonneau and Eliza French’s summer exhibition, Circumspect, at Robert Berman/E6 Gallery is a vigilant display of pure photography that invokes narratives reminiscent of Saki and Roald Dahl stories, or as previously described in Photograph magazine “Fellini’s take on Lewis Carroll.”
Circumspect, the duos’ first San Francisco exhibit, features 20 large-scale photographs from both Charbonneau and French’s Massillon series and their current Playground series. Utilizing traditional darkroom techniques (read: without Photoshop), and shooting with medium and large format film, Charbonneau and French’s photographs are rendered via meticulously executed installation staging and equally detail oriented post-production work.
Charbonneau explains, “Our images are essentially performance/installation stills, as we are very interested in capturing a real moment in time and adhering to the sentiments of traditional film based photography. As such, we prefer manipulating our images in a wet darkroom environment, rather than in the digital domain. In our Massillon series, where clouds are upside-down, or superimposed over a figure, the manipulations were done strictly in the darkroom using multiple negatives. In Playground we only retouched minor areas where the large orbs were tethered to the ground with small weights.” Charbonneau and French do, however, rely on digital technologies for the enlargement and printing process of their images. In the interest of maintaining consistency throughout their editions, large-scale exhibition prints are created using digital c-print technology based on their original silver gelatin masters.
Charbonneau’s twenty-year background in photography and in the motion picture and television industry, coupled with French’s background in screenwriting from NYU’s Tisch School of the Arts and Art History degree from UCLA, has created a partnership that consistently produces works that transport viewers to fanciful lands of visually interpreted imaginations, dreams, myths and memories. Ultimately, to discover oneself caught in the storybook narratives that unfold in the Massillon series or to experience Charbonneau and French’s Playground series, which will make you think differently about the alignment of the stars as you look into the night sky, brings to mind the fact that some pictures are worth a thousand words, or in the case of Charbonneau and French’s work, a thousand stories.
Included in Circumspect are select works from Massillon, Charbonneau and French’s premiere body of work, which takes its name from the Ohio town where French’s great grandmother Zeta Eliza Woolley lived at the turn of the 20th century.
Creating images with Victorian-era aesthetics and a 19th century craftsmanship, combined with traditional black and white darkroom techniques and contemporary photographic processes, Massillon, for Charbonneau and French, “is a meditation on memory, and how it functions through the two of us, and between us.” Part of an unraveling narrative inspired by the life of French’s ancestor, Massillon reads as an archive of the artist’s memories, old family folklore, dreams and childhood reminiscence, transformed into works that have been described as “stills, it would seem, [from] an Edgar Allan Poe film adaptation by Ingmar Bergman.”
Playground, Charbonneau and French’s most current body of work, focuses on the study of primary shapes, in particular the sphere, and its literal and symbolic relationship to human subjects and the natural world. Notes French, “In these highly designed pictures we have strayed away from the emotionally driven narrative that characterized our previous series, Massillon, to create visual poetry through experiments with proportion, distance, and repetition in space.”
With the Playground series, Charbonneau and French have ventured into such realms of influence as classic mythology, Buckminster Fuller’s utopian communities, mid twentieth-century architectural sketches, Dava Sobel’s book, Planets, and their own childhood experiences with weather balloons. Set upon sweeping and stark landscapes, as if in a play-space one might comfortably reach into and rearrange on a whim, each photograph in Playground begins with the artists sculptural intervention into a found landscape or surface through the decisive placement of people and objects, such as large monochromatic spheres and diminutive and fanciful female figures, and concludes with performances, postures and arrangements captured on film that are often infused with elements of classical mythology and subtle references to the universe as created and manipulated by gods and goddesses of polytheistic times.
GO FISH: Mr. Fish First exhibition of original drawings, prints and paintings
In conjunction with truthdig
August 6 - 27, 2011
Opening Reception: Saturday, August 6, 2011, 6 - 9pm
“Behold the cartoons in Go Fish: there is no more savage yet brilliant wit than that possessed by Mr. Fish, who will never compromise on his deep artistic insight or the outrageous honesty of his social commentary. In a sellout culture he is that rare witness for unfettered truth.” - Robert Scheer, Editor in Chief, truthdig and author of The Great American Stickup.
ROBERT BERMAN GALLERY is pleased to present the original drawings and unique multiples of Dwayne Booth aka Mr. Fish - political cartoonist and author of GO FISH (how to win contempt and influence people.)
In the appendix of his book, Mr. Fish dissects the journalistic responsibility he faces as a cartoonist to make it make sense. It being his raw emotional output in response to a given stimuli (government, society, et al) manifesting itself via pen on paper without regard to the cleverly pointed punchline that will accompany and ultimately define it. In his inaugural gallery show, he eschews that responsibility; the political cartoons hanging vulnerably on the walls in their original illustrated state, stripped of any captioning and absolute clarity. If the objective of a political cartoonist is to speak clearly than the goal of this exhibition is to express freely. The drawings are a celebration of the technical mastery and unbridled emotional truth of Dwayne Booth – the Clark Kent to Superman’s Mr. Fish.
Mr. Fish has been a freelance writer and cartoonist for eighteen years, publishing under both his real name (Dwayne Booth) and the penname of Mr. Fish with many of the nation's most reputable and prestigious magazines, journals, and newspapers. In addition to his weekly cartoon for Harper's and daily contributions to Truthdig, he has also contributed to the Los Angeles Times, the Village Voice, the LA Weekly, the Atlantic, the Huffington Post, The Nation, Vanity Fair, Mother Jones, the Advocate, Z Magazine, the Utne Reader, Slate.com, MSNBC.com, and others. He has also worked for National Public Radio. In May 2008 he was presented with a first place award by the Los Angeles Press Club for editorial cartooning. In May 2010 he was awarded the prestigious Sigma Delta Chi Award for Editorial Cartooning from the Society of Professional Journalists and most recently won the Society of Professional Journalists (SPJ) Award in May of 2011. He lives in Philadelphia with his wife and twin daughters.
Mr. Fish and Robert Scheer will be in attendance at the opening reception to sign and discuss
GO FISH, the debut volume of political cartoons and essays in which most of the exhibited work is published. 10% of all opening night sales (Saturday, August 6, 2011) will benefit truthdig.
July 21 - August 20, 2011
Opening Reception: July 21, 2011, 6 - 9pm
Actress Angela Featherstone's first curated show, Fuck Pretty, is a collection of photographs by world-renowned and unknown women artists, whose work moves and inspires her. There are images from contemporary photographers Catherine Opie, Susan Meiselas, Tierney Gearon and equally important to the curator, an array of emerging artists, some of whose work the curator is proud to be showing for the very first time.
Fuck Pretty will feature images from-in alphabetical order:
Alison Van Pelt
A musical score created by the film composer Claudia Sarne (Book of Eli) will accompany the exhibition.
The opening reception will be sponsored by Solomon Tournour, Co- producers of Rene Hand Crafted Alambic Rum
and Svedka Vodka
RIVER OF TIME: New Works by Josh Graham
June 2 - June 25, 2011
ROBERT BERMAN /E6 GALLERY, SAN FRANCISCO Opening Reception: Thursday, Juen 2nd, 7-10pm
Presented by SCION and Moon Editions
Robert Berman / E6 Gallery is pleased to present “River of Time” an exhibition of new
works by Brooklyn based artist Josh Graham.
Graham’s digital assemblages ebb and flow on the fault line between fiction and reality.
The nature of time is explored and documented in complex landscapes of urban blight
and detrition. The images are so seamless and sublime that they take on a somewhat
organic reflection of the tireless composition. Artifacts of war and industry lay weathered
amongst bourgeoning flora and fauna; stripped bare of any meaning or function to pure
form and color. Juxtapositions suggest beyond the pale renditions of natural history
dioramas where time is suspended at the brink of epoch. The mise en scene of found
images resonate though a silent orchestration of light and shadow. Void of any passage,
these frozen constructions allow the viewer to formulate narrative based on their own
personal relationships to the objects and space contained.
“River of Time” focuses on the artist’s recent works in a range of visual output including
digital collage, video installation and photo. These three forms of media make up the
integral framework within the artists practice. The interrelationship between the mediums
is evident throughout the work, as is the result of their convergence on the artist’s
method. In the exhibition Graham’s milieux of fragmented realities are explored through
a series of corresponding works from the various mediums.
REVOLUTIONS - The Album Cover Art of Shepard Fairey Opening Reception: Sat., March 12, 2011; 8-11pm
Exhibition Dates: March 12 - April 23, 2011
Obey Giant Art x Subliminal Projects x Robert Berman Gallery are proud to present REVOLUTIONS, a project featuring the Album Cover Art of Shepard Fairey. This exhibition will be on view from March 12th thru April 23rd at Robert Berman's C2 Gallery, and will consist of over 80 pieces of Punk, Rock, New Wave, Jazz, and Hip-Hop inspired artwork based on the 12" record cover format. To mark this occasion, two special Limited Edition Album Cover Print Box sets will be released for the exhibition. Please join us for the opening celebration on Saturday, March 12th 8-11pm.
“Long before I knew about art galleries or even street art, I was excited about album cover art, if only because it was the visual counterpart to the music on the records. Album covers conjured a euphoric association with the listening experience. Most of my earliest home-made tee shirts were stencils based on punk album covers. I've had some very moving encounters with art in my life, especially in the street, but nothing can compare with the first time I heard the boots marching and first chord of the Sex Pistols' "Holidays in the Sun," or the air raid sirens leading into "too black, too strong" on Public Enemy's It Takes A Nation of Millions to Hold Us Back, or the opening guitar scream of Black Flag's "Rise Above". That music makes my arm hairs stand up. Music is visceral and accessible, but also has the additional powerful layers of the lyrics with their content and politics, the style and personalities of the musicians, and the politics of their lifestyles. No matter how much I love art, or try to convince myself of its relevance in society, the fact remains that music is a lot cooler and way more able to reach people's hearts and minds... but I'm a populist and I look at this way: I may not play an instrument, but I'm gonna rock it hard as nails anyway. REVOLUTIONS is a celebration of all the great music and accompanying art that has inspired me over the years.”
Street 'N Low
Group Exhibition of Street and Low Brow Artists
March - April 2011
During the months of March and April – Robert Berman Gallery presents a select overview of forerunners of the street/graffiti art movement and the new surrealism– aka low brow. Mixed in with these established outsiders will be artists rooted in other genres but whose work also explores the street phenomena. The tie that binds this exhibition is a commitment to the idea of urban space and works meant to be outside as well as inside, both in the physical and literal sense.
Highlights of the exhibition include works by Robert Williams, an original panel from the Yerba Buena Center for the Arts - San Francisco by Barry McGee, rare prints and posters by Robbie Conal, Shepard Fairey and Banksy, a major painting by James Doolin from 1991 of a downtown LA freeway-scape titled “East Wind” and a Retna 12’ x 4’ wood panel from the Seventh Letter Collective show - Angels Will Rise. Also, from the Dennis Hopper collection, a seminal pastel on paper by John Valadez (pictured below) “Leed’s Shoes,” 38.75” x 100”
The show runs in conjunction with The Album Cover Art of Shepard Fairey - REVOLUTIONS, opening Saturday, March 12 from 8 - 11pm (Robert Berman / C2 Gallery.)
Street ‘N Low Artist List: Williams | Retna | Haring | Saber | Quintana | Germs | Slagter | Dubin | Gieske | El Mac | Reyes | Banksy | English | Smith | Noremac | Von Dutch | Ehringer | Crash | ET Risk | Chaz | Shark Toof | Conal | Gibbs | Lengel-Bail | Bueno | Cristi | Soto | Valadez | Barminski | Ausgang | McGee | Crumb | Ryden | Fairey | Wisdom | Twitchell | more to come
DAVID TRULLI Beyond Daylight
ROBERT BERMAN GALLERY /E6 SAN FRANCISCO
February 23 through April 8, 2011
Reception: Wednesday, February 23, 2011, 6:00 – 9:00 p.m.
E6 GALLERY presents Beyond Daylight, an exhibition of large-scale scratchboards by DAVID TRULLI.
The work offers a contemplation on the concept of America formed in the 20th century and that concept’s relevance in the modern world. In his cityscapes framed by empty office interiors, Trulli infuses each piece with an uneasy sense of anticipation – as if something momentous is just out of view.
In Beyond Daylight David Trulli presents images exclusively set in daylight, without losing the noir feeling for which his work is known. His work draws inspiration from the graphic novels of the 1930’s and cinematic masters of more recent times. According to critic Marlena Donohue “[work by] Trulli can be at one glance so handsome, back lit and inviting as to verge on homage to strength, city and industry; then at another so wildly oppressive, claustrophobic and sinister…” David Trulli works in scratchboard: a white clay-coated board, covered with black ink. Fine knives are used to delicately scrape away the ink, creating the image. A former cinematographer, Trulli compares working in scratchboard to lighting a film set: “It starts out black and you add light.” David Trulli was born in New York and currently lives and works in Hollywood.
Proteus, 2010, lacquer on wood, 70 x 58 x 15 inches
John Rose String Theory
February 5 - 26, 2011
RECEPTION: Saturday, February 5th, 6-8pm
“According to String Theory, absolutely everything in the universe - all of the particles that make up matter - is comprised of tiny, vibrating strings. The only difference between one string and another is its vibration or resonant pattern. The fundamental particles of the universe that physicists have indentified – atoms, protons, neutrons, electrons and quarks – are the characters of all matter. If we could examine these particles with great precision, we would find that each is not point-like but instead consists of a tiny loop, like an infinitely thin rubber band, so each particle contains a vibrating, oscillating, dancing, filament that physicists have named a string.” – Brian Green, The Elegant Universe
ROBERT BERMAN GALLERY presents String Theory - an exhibition of wood sculptures by John Rose.
Long, thin strips of poplar wood are curved into large organic forms resembling the most invisible but powerful fundamental components of our world: strings. Informed by DNA spiral and protein configuration imagery captured by electron microscopes and inspired by Chinese calligraphy and zen status, Rose weaves and twists until the form resolves itself. From there, an internal bone structure is built and then cocooned by another layer of poplar. The final work - after much sanding, grinding and finishing with aniline dye lacquer - is seemingly endless and weightless; its circuitous pattern always in motion.
“Each of the forms I construct intones a certain fluidity, derived from the fusion of the graphic and scientific, distilled into a pure essence. I use poplar wood because of its great malleability and simple surface qualities, which allows evidence of the process of making and remaking to remain. Each piece is a new challenge; growing more complex, more open, encapsulating and possessing space as a positive thing. And generating lots of new softer shadows,” Rose articulates.
John Rose moved from England to China in 1976 to teach painting and drawing at the University of Hong Kong while exhibiting regularly at the Hong Kong Arts Center. Rose traveled extensively throughout Asia and was a painter until the early 1990s when his work took on a more three-dimensional format and evolved into sculpture. His work is found in the permanent collections of the Hong Kong Museum of Art, the California Polytechnic School of Education in Sacramento, the Kavli Institute of Theoretical Physics, UC – Santa Barbara, the Frederick R. Weisman Art Foundation in Los Angeles and in corporations and hotels around the world. Rose currently lives and works in Venice, CA.
Bay Area Art / Performance / Multimedia
January 11 – February 19, 2011
A showcase of emerging bay area artists featuring rotating performances and video events
Curated by Ashley Lauren Saks
Ana Belen Cantoni
Sofia Cordova in collaboration with Matthew Kirkland
Jander Lacerda (video screening)
Surabhi Saraf (video screening)
Jonathan Want (video screening)
Doug Garth WIlliams (video screening + show duration)
Amber Jean Young
ROBERT BERMAN GALLERY /E6 1632 Market Street, San Francisco, CA 94102
Lauren Marsolier Transition D5 Gallery
November 20, 2010 – January 2011
RECEPTION: Saturday, November 20, 6:00 – 9:00 pm
HAIKU REVIEW: LAUREN MARSOLIER photographs (or more precisely, makes photographs of) what seem to be impossibly lucid places, clean, brilliantly lit, devoid of people but clearly manmade, full of atmosphere and yet as arid spiritually as they are physically. Of course we recognize quickly - albeit not quite instantly - that Marsolier has fabricated these places, deftly manipulating reality with digital intervention. But the incontestability of their falseness does not diminish the profundity of these pictures' effect, any more than it would were they paintings or drawings (which one or another seems occasionally to be). These are dreamscapes, pure and simple, as unlikely but as unshakeable as an apparition conjured just before waking, the photographic equivalent a century later of De Chirico's Metaphysical painting. - Peter Frank
Marc Fichou: Freeze the Present
November 20, 2010 – January 2011
RECEPTION: Saturday, November 20, 6:00 – 9:00 pm
HAIKU REVIEW: MARC FICHOU plays almost shamelessly with form and perception, turning shapes over and over, opening them up and closing them down, reflecting them, lighting them up, employing all manner of devices at once to expose and to hide the nature of structure. It's not all done with mirrors, but a lot of it is, which serves not only to lay things bare and obscure them simultaneously, but to involve, even inculcate, the viewer in this game of mind against eye. Fichou has conflated the lessons of his countrymen Descartes and Breton into a Zen koan: I see, therefore I no longer know. - Peter Frank
David Trulli In Broad Daylight
September 11 - October 9, 2010
Opening Reception: Saturday, September 11, 2010, 6-9pm
“Let's blame this excess on an American dream. Let's blame the success of an American dream.” – Love and Rockets
ROBERT BERMAN GALLERY presents In Broad Daylight, an exhibition of new, large-scale scratchboards by DAVID TRULLI.
The work offers a contemplation on the concept of America formed in the 20th century and that concept’s relevance in the modern world.
In his cityscapes framed by empty office interiors, Trulli infuses each piece with an uneasy sense of anticipation – as if something momentous is just out of view. According to Trulli, “For years we have all had the feeling that something big is about to happen, and indeed many things have. Wars, economic collapse, political polarization and more have all occurred right out in the open, in broad daylight. Still, we stand dormant as we wait for the undefined event.”
In Broad Daylight marks the first time Trulli has presented images exclusively set in daylight, without losing the noir feeling for which his work is known.
David Trulli works in scratchboard: a white clay-coated board, covered with black ink. Fine knives are used to delicately scrape away the ink, creating the image. A former cinematographer, Trulli compares working in scratchboard to lighting a film set: “it starts out black and you add light.”
David Trulli was born in New York and currently lives and works in Hollywood.
September 11 - October 9, 2010
Opening Reception: Saturday, September 18, 2010, 6-9pm
Performance at 8pm
ROBERT BERMAN GALLERY presents illuminated works and paintings by Norton Wisdom. The exhibition will feature oil on Mylar pieces within plexi light boxes depicting abstract surf scenes inspired from Wisdom’s time spent as a Malibu lifeguard and mixed media REMIX works utilizing Wisdom's live performance paintings as source material for the oil and c-print based collages.
Wisdom will perform live at the opening reception on Saturday, September 18th beginning at 8PM.
Norton Wisdom began his artistic life at fourteen when he attended Chouinard Art Institute in Los Angeles. A student of the luminous John Altoon (one of the preeminent artists of West Coast avant-gardism of the 50’s and 60’s), Wisdom was introduced, not only to the fundamentals of figure drawing, but also to the bold conceptual-based and humanistic thinking which would lay the groundwork for his future endeavors.
Wisdom first began exhibiting his own work in San Francisco in the 1970s but withdrew all of his work from galleries in 1974 and spent the following eight years immersed in studio work. That same year he became a lifeguard and the endless hours he spent staring out at the ocean while working on the beaches of Malibu, Topanga and Zuma contributed to his minimalist vision as a painter. In the late 1970s while in Germany for an exhibition, Wisdom painted over 150 meters of the East side of the Berlin wall during the night using searchlights to illuminate his work. He was subsequently arrested, detained and sent back to the U.S. but the experience convinced him that he could no longer work in the static studio environment and soon he began collaborating with punk bands and working in a performative style. Wisdom has been painting to live music ever since with bands like Panic and Banyan along with musicians Mike Watt and Stephen Perkins. His live, improvisational paintings are temporary interpretations of music that only exist during the space of the performance. The paintings are destroyed but a c-print of the piece resurfaces in remix collages mounted on canvas.
Wisdom has performed around the world at venues as varied as the Winter Olympics in Salt Lake City, to the Butu Dance Company in Japan, and locally at the Walt Disney Hall in downtown Los Angeles. His paintings and sculpture can be found in the permanent collections of notable museums including the La Jolla Museum of Contemporary Art, the Milwaukee Art Center, Wisconsin, and the Orange County Museum of Art. The show also contains select pieces from Steven Friedman's Pole collection: linear imagery painted in one brushstroke on acrylic rods. The paint is mixed on the brush and during application in a process that has the character of caligraphy, except to render not linguistic signs but landscapes, figures and vistas, discreetly. The result is a visual haiku. In constructing the images, horizontal axes abstract as landscapes, vertical axes as figures.
View selected images from the exhibition
ARTILLERY video of the exhibition:
ROBERT BERMAN GALLERY / E6
1632 Market Street, San Francisco, CA 94102
Winston Smith Deep Dimension - A retrospective of select works
Robert Berman / E6 Gallery is pleased to exhibit a select retrospective of works by montage artist Winston Smith, creator of some of Punk Rock’s most lasting and iconic symbols. This is Smith’s first major exhibition in San Francisco since the turn of the century. Included in this exhibition are works from his career spanning over 30 years from Punk Rock to Armageddon. Also featured is the world’s largest collage “Fed-Up,” Smith’s to-scale rendition of Leonardo’s “Last Super.”
Smith has created more than 50 album covers, including Greenday’s “Insomniac,” multiple Dead Kennedys records, George Carlin’s last comedy album and an elaborate 4-panel insert for Ben Harper’s “Both Sides of the Gun.” His collage art has been featured in scores of magazines, including Playboy and Spin, as well as on the covers of The New Yorker, The Progressive, Adbusters, Utne Reader, and Maximum Rock & Roll. San Francisco publisher Last Gasp has published three volumes of his montage art.
Smith came of age in the McCarthy era in Oklahoma. He escaped to Florence, Italy as a teenager, where he finished high school, studied at the Academy of Fine Arts in Florence, traveled the country as a roadie, and lived in Rome to pursue his art and work in films.
He landed in San Francisco in 1976, where his prankster nature, love of music and graphic arts brought him to the attention of local Punk venues and musicians who were staking a claim in the Bay Area. Smith began to collaborate with bands and artists, eventually working with Jello Biafra to create some of his most infamous images, the Dead Kennedys logo and the culture-shock LP cover for “In God We Trust, Inc.”
Hugh Brown Allegedly: New Chainsaw Works
July - August, 2010
Opening Reception: July 17, 2010, 6-9pm
Bergamot Station Arts Center
Hugh Brown first cut his teeth as a chainsaw collector and punk rock aficionado; an unlikely pairing that spawned a Grammy award-winning music-packaging design artist and an obsessive appropriation artist compelled to insert chainsaw references into brilliant forgeries of Ed Ruscha, Jackson Pollack, Ed Keinholz, John Baldessari and dozens more contemporary art heavy hitters.
While the images stand on their own, there is humor and wit lurking within each Allegedly creation for the true art insider to uncover. Take the Hiroshi Sugimoto piece entitled Vista Theater (Texas Chainsaw Massacre 2) - Brown rented out the theatre and used a large format camera and an extremely long exposure to capture the entire film on a single print, just as Sugimoto did in his photographs of old American movie palaces and drive-ins as an expression of time. Or the Alexander Calder wire sculpture depicting a chainsaw held up by a three-person pyramid entitled Three Acrobats, One Chainsaw – a nod to both Calder’s primary medium and his fascination with the circus.
Each piece is as unique as the story behind it. He studied Hans Namuth’s footage of Pollock’s wrist movements, bought the same brand of gouache as Henri Mattisse and used Bruce Nauman’s neon fabricator to spell out Was/Saw in place of the iconic Raw/War. Not only are the works so convincing that many mistook them for authentic pieces when shown last year at the California State University Fullerton Grand Central Art Center but the process by which they were fabricated is an artistic expression entirely unto itself.
A photographer, printmaker and assemblage artist for over 35 years, Brown has had seven solo shows and many group shows including two at the San Francisco Museum of Modern Art and three at the Triton Museum of Art. But Brown’s standout achievement is a second place finish in the “Design a Chair for Barbie” competition sponsored by Vitra Design Museum, Metropolis Magazine, Mattell and W – not because of the second place finish but because the entry caused a fist fight amongst the judges.
Never boring, always controversial and now for the first time – for sale.
Read the review in JUXTAPOZ Magazine by Greg Escalante read article
photo courtesy Christopher Felver
Dennis Hopper Works on Paper July - August, 2010
Bergamot Station Arts Center
“When I started, I was shooting everything around me, all the time. I was shooting reality but I liked the idea of shooting flat on, having no depth of field and in the process creating photographs that were similar to paintings. So I was a product of Abstract Expressionism and Pop Art. As a result, there are a lot of common objects in my photographs, everyday things I would come across that would become abstract if you isolated them. The abstract photography was really all that I was interested in at the time and I did more of that than probably anything else.” - Dennis Hopper
ROBERT BERMAN GALLERY is pleased to present works by Dennis Hopper.
From 1988 to 1989, Hopper chose his favorite images amongst his vast library of photographs taken in the 1960s to produce a very limited edition of signed silkscreen prints in gold and silver monotone on archival paper and unique screenprints on aluminum - many of which are published by Taschen in the book, Dennis Hopper: Photographs 1961-1967.
This exhibition features roughly half of the 18 selected shots documenting Los Angeles and New York City street scenes.
July 7, 2010 - August 14, 2010
Reception: Wednesday, July 7, 2010, 6 – 9 pm
ROBERT BERMAN GALLERY / E6
1632 Market Street, San Francisco, CA 94102
Robert Berman / E6 Gallery is pleased to present MISSPELLED, an alphabet by Victor Reyes, handmade in California. The ambitious public art installation turned gallery exhibition explores the artists’ unique approach to graffiti, by dissecting individual letters and exploring the anatomy and architecture found in the symbols we use to communicate. Inspired by San Francisco’s streets, surfaces, and overall visual vibrancy, Reyes reinterprets the letters and presents them to us in a brilliant array of color and movement. These alphabets, recontextualized on various abandoned surfaces around the city, are not intended to provide answers, but to raise questions about how we interpret public spaces and the content assumed within.
Eye Candy A Junk Food Artist Collective
July 1-7, 2010
Thursday, July 1, 7-10pm
Robert Berman Gallery/ Junk Food Clothing present “Eye Candy,” a group exhibition from the in house artists at Junk Food Clothing.
Junk Food as a brand captures the essence of American pop-culture on clothing; this first collective is a way for the artists to express themselves creatively on canvas, through sculptures and other mixed media.
Los Angeles based apparel brand, Junk Food Clothing, started in 1998 with the idea of creating the perfect t shirt. The brand has since evolved into an international sensation, selling in top retailers across the globe and over 4,500 stores worldwide.
The Pornification of Everything, 2009, Oil on wood, 99 x 80 inches
Cameron Gray It's all Downhill from Here
March 20, 2010- June 2010
Reception: Saturday, March 20, 2010, 6:00 – 8:00pm
E6 Gallery, San Francisco E61632 market street, san francisco, ca 94102
Robert Berman / E6 Gallery is pleased to present a solo exhibition by Los Angeles artist Cameron Gray. Respected art critic Peter Frank declares, “Cameron Gray has become a master of a kind of collage whose formal roots are in century-old trick technology but whose spiritual sources are in surrealism and pop art." Like Photomosaics, Gray's paintings exist on two visual levels. Each painting is made up of a large number of smaller paintings on 3" x 4" wood tiles. Visually, things are not what they seem. As you look closer the larger image breaks down to reveal the smaller paintings that transform a simple portrait into numerous separate cells, which have their unique properties that differ from one another. For instance, The Pornification of Everything, is a portrait of Mona Lisa made from 900 paintings of hardcore pornography and Can't See the Forest is an 8' x 15' painting of a forest made from 2,200 paintings depicting traffic, factories, urbanity and violence.
Behind Gray's art is his work with digital, network manufacturing. His work begins as digital studies, which are divided into hundreds of small pieces and then outsourced, to be painted, by other artists, colleagues and Facebook friends. By breaking the painting down into a grid of pixels and outsourcing the work, Gray builds a virtual factory by way of the Internet. The smaller images used are thematic and play a vital role in the depiction of the larger image. This modern approach is used to create what appears to be a traditional oil painting.
Frank expresses, “If there is a political or even social message in this, it is the viewer’s, not the artist’s. Then again, the artist is asking the viewer to zoom in and zoom out in order to “read” pictures in, and out of, other pictures. The multi-leveling of perception in this case is itself a statement about – or, perhaps, demonstration of – how we perceive the world. That is, we understand contemporary life and its newly digitized landscape as a sum of pixels that comprise some sort of whole – albeit a whole that is itself unstable and threatens to fall apart into its components every time we walk outside, talk with one another, or even boot up and log on. As such, Cameron Gray’s assemblages are the faces of our present reality. They are not the faces we see in the mirror, but the faces we see on one another – and on our many screens. They are animations made from many, many stills.” Or as Gray puts it, "At times the act of viewing itself becomes very physical or like a strange dance. The viewer must walk forward, then backward or lean in very close to see the work. I want the viewing experience to be visual, physical and conceptual all at once."
Long Before Pluto, 2010, Chromogenic Print, 30 x 60 inches
Eliza French & Jeff Charbonneau P L A Y G R O U N D
April 3 - May 5, 2010
Opening Reception: Saturday, April 3, 2010, 7-9 pm
The exhibition is in conjunction with MOPLA
Robert Berman Gallery is pleased to present Playground, the second solo exhibition of photographs by Los Angeles based collaborating photographers Jeff Charbonneau & Eliza French on view April 3, 2010 through May 5, 2010. A reception for the artists will be held Saturday, April 3, 2010 from 7-9p.m. in conjunction with MOPLA.
As the artists’ first foray into the world of living geometry, the photographs of Playground play with primary shapes and their literal and symbolic relationship to human subjects and the natural world. In these highly-designed panoramic pictures, Charbonneau and French stray away from the emotionally driven narrative that characterized their previous series, Massillon, to create visual poetry through experiments with proportion, distance, and repetition.
Each picture begins with the artists’ intervention into a found landscape or surface through the decisive placement of objects, such as large monochromatic spheres. From there, a scenario is performed which transforms the shapes into effigies of mystery, devotion, and superstition. Fanciful female characters return in Playground, but their diminutive figures are set upon sweeping and stark landscapes as if in a play-space one might comfortably reach into and rearrange on a whim. The spheres to which their attention is often transfixed become reminders of the planetary system which envelops all of us and perhaps, the eternal desire to render it in a familiar plane.
Jeff Charbonneau and Eliza French have been working together since 2004, when a mutual interest in the photographic medium brought them together. Their performance-based images are created through a partnership from conception to finish and have been featured in art fairs both internationally and stateside. They are currently included in a major traveling exhibition of photographs titled The Art of Caring: A Look at Life Through Photography. This exhibition, curated by Dr. Cynthia Goodman opened at the New Orleans museum of art in 2009 and is accompanied by a monograph. Both artists live and work in Los Angeles.
JEFF CHARBONNEAU & ELIZA FRENCH at Robert Berman Gallery
Having established a strong identity based on goth-romantic figure-in-landscape imagery, Jeff Charbonneau and Eliza French loosen the spirit somewhat with a downright playful theme and an even more playful approach to it. In the photographs of "Playground," Charbonneau & French continue to concentrate on young women as protagonists in a dream world —a cheap trick, one might protest, but in fact a way of transcending a nagging trope by exploiting it with almost businesslike matter-of-facture. Setting any other kind of figure —old ladies, say, or babies —in these fields and gardens and plazas would invoke a more specific reading; the young women most easily become the viewer's ciphers, and their interactions with so many white weather balloons becomes at once a stylized ballet and a universalized metaphor for dreamy transport and the freshness (and perhaps even innocence) available through the imagination. Not the artists' imagination, which of course drives (and thus determines the subjective framework of) the entire series, but our imagination, which the project seeks to incite. The concurrences of figures and balloons, mirroring one another in their sun-reflecting whiteness, invite interpretation less through their ravishing clarity —the initial optical lure —than through their genial incongruity. Something is happening here, however gently and slowly, keeping one's curiosity piqued.
Selected by Jeff Charbonneau & Eliza French in conjunction with the exhibition PLAYGROUND
April 3 - May 5, 2010
Robert Graham, Untitled, circa 1960, Charcoal on paper,
Signed on recto, 22 x 18.5 in.
ANOTHER NUDE SHOW
April 3 - 30, 2010
A Group exhibition exploring the imagery of the nude form including works by
Robert Graham, Ruth Bernhard, Horst P. Horst,Man Ray, Joel Peter Witkin, Francesco Scavullo, Chin-Chin Wu, Sante D'Orazio, Raymond Pettibon, The Mac, John Altoon, Ben Talbert, Lawrence Ferlinghetti, Frederick Wight, William Tunberg, Ralph Goings, Stephen Verona, John Colao, Ron English, Manuel Ocampo, Jorg Dubin, Ellwood T. Risk, Britt Ehringer, Eliza French & Jeff Charbonneau, Robert Sean Coons, Dennis Mukai, David Trulli, Greg Gibbs, Andrew George, Vic Huber, Rafael Serrano, Jon Cournoyer, Sally Mann, Jock Sturges, Marc Fichou, Ken Aronson, Brett Aronson, Steven Teitelbaum, Randal Haworth, Tiphaine Popesco, Eric Schwartz, Christina Lissmann, David Ellingsen, Bill Durgin, Hana Jakrlova, Toby Burrows,Bill Phelps, Gail Greenfield Randall, Irene Hardwicke Olivieri, Edouard Chimot, Max Turner, Emil Jean Kosta Jr., Mel Ramos, Alejandro Gehry, Thomas Ruff, Nobuyoshi Araki, Tracy Nakayama, Tracey Emin, Vanessa Beecroft, Tom Wesselmann, John Valadez, Frank Romero, Claudia Kunin, Grace Oh and many more.
In conjunction with the MOPLA Month of Photography Awards & XTO Image Awards
Some (Old School) South Coast Guys
A Group Show of Vintage works and 3-Dimensional Creations from artists Peter Alexander, Robert Graham, Wallace Berman, Russ Tamblyn, Ken Price, Ed Moses, Billy Al Bengston, Ben Talbert, Dennis Hopper, Larry Bell, Ed Ruscha, Eric Orr, Joe Goode, Ed Keinholz, Craig Kauffman, Laddie John Dill, Sam Francis, John Altoon, Fred Eversley, Norton Wisdom, Bill Tunberg and others.
Ed Ruscha, Cheese Oval, From Various Cheeses Series, 1976, 2-color lithograph printed on aluminum, Numbered A.P. IX, From an edition of 39, Printed by Gemini Gel, Signed and numbered on verso, 14.75 x 20.25 in.
Larry Bell, Untitled, 1979, Aluminum vapor drawing on paper,
Signed and dated in pencil on recto, 39 x 27 in.
30th Anniversary Exhibition, Part II
Group exhibition of selected works from previous exhibitions and artist inventories
November 14, 2009 - April 2010
Ben Talbert, The Queen of Hearts, 1964, oil on canvas, 67 x 65.5 inches
Ben Talbert Luck and Love Revisited
Curated by Hal Glicksman
January - February, 2010
Opening Reception: January 16, 7-9pm
The Robert Berman Gallery is pleased to present a selection of Ben Talbert’s paintings, drawings and assemblages from the 1960’s. Luck and Love Revisited is curated by Talbert’s close friend and well know curator, Hal Glicksman.
Ben Talbert was an accomplished painter and sculptor, who was part of the original circle of beat and alternative Venice artist’s from the 1960’s. Not only was he friends with all of the people from the seminal group, in particular Wallace Berman and Ed Kienholz, but was also exhibited in a major show with both of them at the Pasadena Art Museum as well as a solo show curated by Walter Hopps. Talbert’s assemblages are still well known and were recently in exhibitions at the Whitney Museum of American Art and at the Santa Monica Museum of Art.
In the late 60’s Talbert painted large Pop paintings of pornographic playing cards using the American Flag as the background. This work was shown in a group exhibition in 1972 at the David Stuart Gallery in Los Angeles that was closed down by police as obscene. His friends organized a secret exhibited called Luck and Love for two days at the Mermaid Tavern in Topanga, California. Other than this renegade show, his paintings and drawings have never been shown.
When he died in 1974, the Women’s movement was in full swing. Glicksman, an advocate of Talbert’s, concluded that Talbert’s work needed to be stored away for a long time to find a new audience. Even by today’s liberal standards, the work is very tough. This is Ben Talbert’s first solo exhibition since 1973.
Please join us at a reception for the show on Saturday January 16, 2009 from 7 pm to 9 pm.
The Right Light
work by Darren Le Gallo and Jon Cournoyer
Live Painting/Video Performance and Exhibition
with guest artists Nathan Spoor, Chandler Wood and more
Thursday, December 17th, 7-11pm
Alejandro Gehry Curated by Katherine Bell
November 14 to December 5, 2009 EXTENDED THRU DEC 15TH, 2009
Robert Berman Gallery is pleased to present For Play, a solo exhibition featuring the work of Los Angeles based artist Alejandro Gehry. For Play will be on view November 14 through December 5, 2009.
Alejandro Gehry, son of prominent architect Frank Gehry, grew up in southern California and has a half-Latin upbringing. This Latin influence is evident in his art consisting of vivid, hot colored paintings and erotic drawings that make an immediate sexual impact. Sensuality and sexuality are two parallels that play a hand in Gehry’s art, often displayed with twisted body shapes and expressive lines. Exciting and graphic, Gehry’s work celebrates the spirit of sexual liberation.
Gehry is known for his expressive pop-influenced paintings and for focusing not only on the human form, but also on human sexuality. His drawings consist of figures engaged in sexual poses, exaggerated gestures, startling color combinations, and jagged contour lines, all pushing boundaries and confronting social taboos. This radical form of emotional intensity allows Gehry, as an artist, to be free of any societal constraints.
Through Gehry’s edgy forms and existential explorations of the human condition, he can be viewed as a modern day romantic hero to generations of young people raised on sex, drugs and rock 'n' roll. Alejandro expertly infuses his work with the passion and intensity of his Latin heritage, letting heat and excitement radiate to the viewer. His work breaks North American cultural norms, igniting subjects with unrestrained lust accentuated by bold colors and overlapping line images. The occasional juxtaposition of image over image highlights the contrasting opinions about sexual expression particularly relevant in Los Angeles today.
Alejandro Gehry graduated in 1998 with a BFA from the Rhode Island School of Design and presently resides and works in Venice, California.
Robert Berman Gallery Presents the First Collaborative Exhibit of The Mac and Retna Vagos y Reinas
Curated by Brett Aronson
September 26 to October 17, 2009 - EXTENDED
Robert Berman Gallery is pleased to present Vagos y Reinas, an exhibition of selected works by artists and muralists Mac and Retna. Vagos y Reinas marks the first time these longtime collaborators have exhibited in a gallery together.
Mac and Retna are unlikely partners. Mac is a photorealist: His work in spray paint makes the medium dissolve into a sea of classical touches. Retna is all brush: He is known for his abstract embellishments and calligraphic font. Collaboration is a constant in graffiti, but from the first time that Mac and Retna worked together on a mural it was clear that each painter brought out the best in the other; that the precision of one balanced the looseness of the other. In the five years since, Mac and Retna have collaborated on more than 20 murals around the globe, producing some of the most memorable, monumental work in recent memory. Vagos y Reinas is their widely anticipated first collaborative gallery show.
Mac and Retna’s murals are points of neighborhood pride, and it has made them local heroes. They often get involved in the communities they paint in, speaking in schools or mentoring young artists. Their murals have also become local landmarks—so much so that their piece on La Brea and 3rd was included in a recent Los Angeles Times ad campaign featuring iconic people and places that represent the city.
Vagos y Reinas brings their outdoor work inside. The title of the show, which translates to “vagrants and queens,” references Mac and Retna’s street-infused styles and celestial depictions of women. On exhibit are large-scale pieces that represent some of their best work together. For example, with “Gracias a la Vida,” an 11-by-11-foot canvas, Mac and Retna exalt a photo of a beautiful woman into a divine being. It is a perfect example of their use of graffiti and fine art, combining spray paint with Alphonse Mucha’s whiplash curves, motifs pulled from Byzantine art, and a powerful image that recalls Gustav Klimt.
The exhibit also serves as a retrospective, showcasing individual work from each artist before and after they met, as well as brand new pieces that demonstrate their maturation. “I think that our development as individual artists has made our collaborative work that much stronger and more unique,” Mac explains. Mac will show his extremely technical photorealistic canvases, while Retna plans to create a floor-to-ceiling installation of his calligraphic font.
The exhibition coincides with the release of Alianza (Upper Playground/Gingko Press), a 96-page hardcover book that documents their partnership over the years. Vagos y Reinas is open to the public from September 26 to October 17, 2009, during normal gallery hours, Tuesday through Saturday, 12 to 6 p.m. View images from the exhibition
We have a Very Limited number of Albums now signed by Raymond Pettibon! $100
NEW 12" VINYL!
The Niche Makers are a new collective revolving around the words and inspiration of internationally acclaimed artist Raymond Pettibon. An icon of contemporary art, Pettibon has exhibited at MOCA, SFMOMA, Philadelphia Museum of Art, The Whitney Museum of American Art and his work is in the permanent collections of galleries and museums throughout the world. His early artistic roots lie in music, specifically in the Los Angeles punk rock scene, both designing artwork and performing along with brother Greg Ginn in Black Flag as well as designing artwork for other bands such as The Minutemen, SST Records' stable, Foo Fighters, and Sonic Youth among others. He has continually created music over the last twenty years under various band names and collaborated with the likes of Mike Watt, Firehose, and Unknown Instructors.
The band consists of the principal members above and frequently has special guests which partake in awkward performances and investigatory recording sessions. The compositions are choreographed to the endless pages of Pettibon's lyrics, either vocalized by himself or other Niche Makers, and are held together with a sound based on early New Orleans jazz and campfire spirituals. Members of the Niche Makers are simultaneously both seasoned and up and coming musicians in Los Angeles, taking part in other projects such as Old War Shirt, the Slings, and the Hootenanny All-Stars.
Opening Exhibition of our new San Francisco Gallery
Julius Shulman Early Photographs from the Bay Area
Andrew GeorgeLight Leaks
Gallery and Exhibition opens Saturday, April 18, 2009
In conjunction with the Craig Krull Gallery
E61632 market street, san francisco, ca 94102
Julius Shulman, San Francisco Bay Bridge under construction,
1934, recent gelatin silver print
Andrew George, (Light Leaks)Toronto, 2003, C-print, ed of 12, 48 x 30 in
Robert Berman/E6 Gallery will mark its premiere exhibition in San Francisco with a 2-person show featuring photographs by legendary architectural photographer Julius Shulman and his protégé, Andrew George.
Shulman’s featured work includes 12 b&w images of architecture, design and locations mostly never before exhibited, taken in the mid-1930s during the time Shulman studied at Berkeley and resided in San Francisco. George will exhibit Light Leaks, 16 large-scale photographs that convey the simple yet profound ways light moves in quiet, interior spaces.
George, mentored during the last 25 years by Shulman, will share Berman’s gallery walls with his teacher for this historical exhibit. “With George in his late 30s and Shulman in his late 90s,” gallery owner Robert Berman comments, “the upcoming exhibit provides a unique perspective and interchange of both one of the world’s greatest architectural photographers, Julius Shulman, and his student, Andrew George. That George is a protégé of Shulman’s is immediately apparent. The photographs of each complement one another in their beauty and simplicity. Shulman’s iconic exteriors offset George’s transcendent interior moments caught in time”
Shulman’s early photographs of the Bay Area provide a historical pastiche of a place that Shulman would revisit throughout his career and a window into the development of the greatest architectural photographer of the 20th-century. Shulman, whose photographs have been featured in books by Rizzoli, Taschen, and Nazraeli Press, has said of George’s work that, “he has responded to an innate mastery of seeing, [and] thereby launched me into a sea of perception heretofore unexperienced! A unique impact for one with over six decades of photographic endeavors.”
Comprised of images taken in locations all over the world, Andrew George’s Light Leaks unveil large bursts of raw color and glowing light. The photographs capture illuminations that are both fleeting but entrancing, and each of the 4 x 3 foot prints engages viewers with a dynamic energy and an intense field of natural color.
featuring Raymond Pettibon, Daniel Johnston, Ron English, Thurston Moore, Kim Gordon, Lee Ranaldo,
and Gibby Haynes
Curated by Jon Cournoyer
February 28 - March 21, 2009
Galleries D5 and C2
The Los Angeles Times calls the exhibition "an indie dream lineup"
Robert Berman Gallery is pleased to present the group exhibition Rock, Paper, Scissor on view February 28 – March 21, 2009. The show features noteworthy artists who freely use, base imagery on, thrive, and excel in both the mediums of visual art and music. The artists taking part in the show are Raymond Pettibon, Daniel Johnston, Ron English, Gibby Haynes of the Butthole Surfers and Thurston Moore, Kim Gordon and Lee Ranaldo of Sonic Youth.
This exhibition highlights these artists who in both the mediums of music and art have created a memorable and historical body of work and continue to do so. Born from outsider roots stemming from Los Angeles, New York and Texas, they blurred the boundaries of aural and visual expressions creating what would become a hallmark of material from the period of the 1980’s-1990’s, eventually being absorbed by both the mainstream public and art industries. It’s influences today are countless.
On exhibit are paintings, drawings, collages, hand-painted installation by Lee Ranaldo, a grand-scale wall mural by Raymond Pettibon and vitrines of vintage ephemerea and lyric sheets by Pettibon and Daniel Johnston/ Also a large collection or rare and early Daniel Johnston works, many of which have never been publicly exhibited, are also on view from the collection of Don Goede, co-author along with Tarssa Yazdan of the definitive book on the artist “Hi, How Are You?”. These works will be published in the next edition of this book as well.
A catalogue is available for purchase $50.00 + shipping
HUNTING AND GAMING Vanessa Prager and Kathy Grayson
January 24 - February 14, 2009
C2 Gallery Opening Reception: Saturday, January 24, 2009, 7 - 10pm
Hosted by Erika Christensen and Jeff Vespa Sponsored by:
Robert Berman Gallery is pleased to present Hunting and Gaming: an exhibition of paintings by Kathy Grayson & Vanessa Prager. On view January 24 through February 14, 2009.
'Hunting and Gaming' explores the nature of sinister play. Vanessa Prager paints starkly lit scenes of surrealistic moments in daily life; untangling holiday decorations, playing with old toys, driving or chatting. But her odd theatrical arrangements suggest something creepy going on behind the innocent façade. Kathy Grayson explores various digital degradations whether with old family photographs re-imagined through early video gaming and green screen effects, with video game "death screens" or with quasi-abstract explosions of distorted video information. Memory and technology infect and distort each other in her uncanny panel paintings.
Vanessa Prager lives and works in Los Feliz. At just 24 years old, this ambitious, self-taught artist has five years of exhibitions under her belt in alternative venues and galleries throughout Los Angeles, as well as notable magazine collaborations, and a long list of eminent collectors.
Kathy Grayson has lived and worked in New York after graduating from Dartmouth College in 2002. She has recently exhibited work at Colette in Paris, at O.H.W.O.W. in Miami, at Park Life in San Francisco, and at Kim Light gallery in Los Angeles. Recent articles on her work have appeared in Dazed and Confused, i-D and Tokion magazine. Her work is in the collection of Microsoft.
30th Anniversary Exhibition, Part 1 Group exhibition of selected photography and photo based works featuring:
Alex Prager, Jeff Charbonneau & Eliza French, Andres Serrano, Rafael Serrano, Man Ray, William Wegman, Robert Rauschenberg, Ed Ruscha, Dennis Hopper, Edmund Teske, Shirin Neshat, Christopher Felver, E.T. Risk, Harry Bowers, Lauren Marsolier, Marc Fichou, John Colao, Marla Rutherford, Dietrich Wegner, Cameron Gray, Gerald Slota, Chin-Chin Wu, Hana Jakralova D5 Gallery
January 24 - February 5, 2009
Andrew Foster Deep Thoughts
November 15 - ongoing
Opening Reception: Saturday, November 15, 7:00-9:00pm
Robert Berman Gallery is pleased to announce “Deep Thoughts”, an exhibition of new work by Los Angeles based artist Andrew Foster. Deep Thoughts displays the artist's current leaning towards a traditional mode of creating 'picturesque' works on canvas. Foster considers his new paintings an exploration of nostalgia and an attempt, in the words of Pierre Bonnard, "to escape the monotony of life."
Though light and whimsy in tone, Foster maintains his sardonic sense of humor. He employs a romanticized palette referencing Rococo and Impressionism with themes that revolve around overtly joyous, day dreaming girls who frolic and lounge in idealistic landscapes. Following the tradition that a young painter should copy from the work of past masters, there is an instant and romantic familiarity deeply rooted in each painting. Many of Foster's works are constructed with derivative subjects, themes, and compositions from 19th and early 20th century paintings coupled with ingenuous scenarios. Resurrecting a state of adolescence, boundless yet tumultuous, we are prompted to escape. He weaves in and out of reality but remains distant from surrealism’s visual tricks, obscurities, and cluttered imagery. Foster defines memory, familiarity, history, and paint as the vehicle for his process.
Andrew Foster received his BFA in 2004 from Art Center College of Design in Pasadena, CA. Foster's work has been exhibited in galleries such as Earl McGrath Gallery, (West Hollywood), Jonathan LeVine Gallery (NY), Merry Karnowsky Gallery (LA), George Billis Gallery (LA), and included in ARTNOW Fair (Basel, Miami) and Red Dot Fair (NY) among others. In past years, curators Mark Murphy and Brad Benedict have included Foster's works in their exhibits.
View works from this exhibition
Tyson Grumm Anthropomorphism 01
November 15 - December 6, 2008
Opening Reception: Saturday, November 15, 5:00-7:00pm
The Robert Berman Gallery is pleased to present a new collection of paintings by Tyson Grumm entitled Anthropomorphism 01. Viewing an exhibition by Tyson Grumm is momentarily entering a fantastical world of unique characters, wild animals, nostalgic objects and textural environments created entirely in the mind of the artist. These well-rendered, contemporary Surrealist works are freeze-frame glimpes of these elements humorously and mysteriously orchestratred inside de Chirico-esque landscapes and architectural surroundings. Exploring these works reveals a story that is only partially told, enabling the viewer to contribute their own unique perceptions to the completion of each of Grumm’s works.
As the artist states, "The stories being told in each painting are created without preconceived planning. I add each element until I see a story. I enjoy forming the story, or parable, step-by-step with found imagery, animals interacting with humans and whatever grabs my eye. Often I keep in mind an overall theme, which in this case is parables told around the nooks, crannies, and niches of walls. This basic theme gives me focus, and a starting point, and from there, the story evolves itself. The characters, animals, and people that fall into these niches are created with a variety of intellectual range, and sometime seem to know what’s going on a lot more than you, or even me, the creator. I find this irony critical to the statements they seem to be making."
The artist not only renders objects such as maps, antique scientific instruments and books that he has collected throughout his life into the scenes but also chooses the actual frames that company the paintings. Hand-collected, reworked and carefully chosen, the frames help to enhance the personality and meaning of the paintings, the end result being not just paintings alone but objects of splendor, wonder, and amusement.
This is Tyson Grumm’s 3rd solo exhibition at the Robert Berman Gallery. His exhibitions, which consistently sell out, have also shown in San Francisco, Oregon, Washington and Internationally as well. The artist was recently the recipient of the 2008 PONCHO IFA Artistic Merit Award.
C H A NG E A M E RI C A A Group Exhibition
October 4 extended through November 8, 2008
Opening Reception: Saturday, Oct 4, 2008, 3 - 5 pm
The Robert Berman Gallery has designated our D5 gallery at Bergamot Station Arts Center in Santa Monica, California, for an exhibit entitled "Change America." This collection of political art explores the momentum for renewed hope and the promise of America, emphasizing the theme of change. It also is an indictment against the arrogance of power and overt corruption by an administration that has weakened the Constitution and threatened Democracy.
The power of art is compelling. It challenges people to think and to act at important times. This is such a time, to effect change that America so desperately needs.
On view will be works by Banksy, Richard Serra, Andy Warhol, Raymond Pettibon, Robert Rauschenberg, Ron English, Shepard Fairy, Jim Shaw, Robbie Conal, Dietrich Wegner, Gomez Bueno, Britt Ehringer, Robert Indiana, Kerr+Malley, Arnold Mesches, Antony Micallef, David Trulli, Daniel Martinez, RJ Berman, J Colao, Michele Pred, Ellwood T. Risk, Cameron Gray, Bill Barminski, Vanessa Prager & others
"Vote Obama" graces the cover of the November 2008 issue of THE Magazine:
As of this writing the stock market is down, no up, no down again . . . oh, forget it.
Lots of uncertainty is in the air; although Barack Obama is ahead in the polls, and the election is less than one week and many commercials away, you never, ever know. People are nervous about the economy, nervous about the future, just nervous about everything.
Take a trip back to 1972. People were nervous then, too. Nervous about the Vietnam War, nervous about Palestinian terrorists that killed Israeli athletes at the Munich Olympics, and, just like today, Americans were nervous about the presidential election. You had Nixon lovers and Nixon haters, McGovern lovers and haters-sound familiar? But, unlike today, back in 1972 the public school system was still exceptional, medical coverage was affordable, and your home was somewhere you lived, not just an investment.
Our cover image is based on Andy Warhol's Vote McGovern from 1972. Robert Berman came up with the idea, and enlisted artist John Colao to bring the concept to life. Berman says, "Andy Warhol's Nixon poster was the first time that I know of where an image of the opposition, an obvious anti-hero, had been used on a political poster. This was Warhol's only blatant political endorsement to my knowledge, using irony by portraying a face that people disliked-it would be the last thing you would want on your wall. The obvious choice for our poster would be McCain of course, but what we want to portray here through the Bush image is that McCain is just more of the same."
Through art-be it painting, song, dance, film, or a multitude of other mediums-the artist informs, engages, enrages, entertains, uplifts, and, hopefully, makes folks think. People may not always like the result, but what's important is that the artist gets to create and the audience gets to think for themselves. You can't please everybody. As Bob Dylan, one of the great artists of our time, once said, "You're nobody if you don't get booed sometime."
Laurie Rosenthal, Editor-in-Chief firstname.lastname@example.org
Artillery Magazine: Change America exhibition video Video by Steve Cioffi
Alex Steinweiss: Creator of the Album Cover Original album covers, paintings and collages
by Alex Steinweiss
And special tribute by selected artists.
Co-Curated by Kevin Reagan and Greg Escalante January 19 - February 23, 2008
Before Alex Steinweiss invented the album cover
in 1938, at the age of 23, all albums came in
plain brown wrappers. Steinweiss's idea to create
a package that had something visual on the outside
to lure the consumer was a huge success.
*view selected STEINWEISS images from the exhibition
An exhibition featuring the work of select members of the notorious
Seventh Letter (T7L) graffiti collective. Within the Seventh Letter collective is an elite crew known as Angels Will Rise (AWR), who have established themselves as L.A.’s most influential modern
The show will consist of a floor-to-ceiling mural installation constructed by AWR members:
Pusher, Zeser, Krush, Rime, Saber, Revok, Retna, Reyes, Skrew, Sever and Ewok.
Curated by Brett Aronson
M.S. Garvey's Letters to the President with the Hootenanny All-Stars
Produced by Ice Hat Creative & The Robert Berman Gallery
Electric Lodge, Venice, CA
November 29, 30th and
December 1, 2, 6 - 9th, 2007
Alex Prager POLYESTER April 21 – May 12, 2007 Los Angeles based photographer Alex Prager uses a cinematic approach in her vivid, intriguing, still imagery. Stories unfold with each photograph that stimulate the senses and playful yet bizarre scenes are a balancing act between fantasy and reality.
Figment - Group Exhibition featuring works by Marie-Claire Bozant (seattle, wa) Jeff Charbonneau & Eliza French (los angeles, ca) Reeve Schumacher (miami, fl) Erika Somogyi (new york, ny),
Curated by Ashley Lauren Saks & Jon Cournoyer
Feb 17 - Mar 10, 2007
Paul Bob Velick - Fireworks, A Studio Fire Installed February 17 - March 10 , 2007
Daniel Kaufman - Encaustic Perceptions January 20 - February 10, 2007
Koji Takei - New Works December 2 - January 15, 2006
(Berman/Turner Projects) Friendly Fire: Four from the East Curated by Jonathan Levine
October 14 - November 11, 2006
(Berman/Turner Projects) Ron English - New Works October 14- November 11, 2006
(Berman/Turner Projects) Robert Sean Coons - Deceptions September 9 - October 14, 2006
(Berman/Turner Projects) Don Sorenson - Retrospective
April 22 - May 20
(Berman/Turner Projects) Queen of the Night, Women under the Influence 1963-2006 Curated by Elk
April 21 - May 13 , 2006
(Berman/Turner Projects) Elizabeth Tinglof - Mersion March 11 - April 8, 2006
Tyson Grumm - New Paintings November 19 - December 17, 2005
(Berman/Turner Projects) Bill Barminski - About Face September 9 - October 4, 2005
(Berman/Turner Projects) Ellwood T. Risk - Loaded July 9 - August 9, 2005
(Berman/Turner Projects) Flow Curated by Peter Frank
July 23 - August 23, 2005
Britt Ehringer - Baghdad Pizza Hut May 14 - June 14, 2005
(Berman/Turner Projects) Timothy Greenfield-Sanders - XXX: 30 Porn Star Portraits April 2 - May 8, 2005
(Berman/Turner Projects) Jorg Dubin - Out of Bounds February 5 - March 3, 2005