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Thursday, April 27, 2006

"PI PAINTING" (2003) (OIL ON CANVAS) by MARVIN HUMPHREY
Location: Galatea Offsite-San Francisco Apartment

"MILK AND COOKIES" (1997) (OIL ON CANVAS) by MARVIN HUMPHREY
Location: Galatea Offsite-San Francisco Apartment

"BASEBALL HOSTESS" (2004) (OIL ON BOARD) by MARVIN HUMPHREY
Location: Kitchen, Pygmalion-First Floor

"ICED MUFFINS" (2003) (OIL ON CANVAS) by MARVIN HUMPHREY
Location: Kitchen, Pygmalion-First Floor

"LANDSCAPE (RAIN ON SPRING MOUNTAIN)" (2001) (OIL ON CANVAS, 11 x 14 IN) by MARVIN HUMPHREY
Location: Galatea Offsite--San Francisco Apartment

"PRETZEL" (2005) (OIL ON BOARD) by MARVIN HUMPHREY
Location: Galatea Offsite--San Francisco Apartment

"WINE GLASS" (2005) (OIL ON BOARD) by MARVIN HUMPHREY
Location: Kitchen, Pygmalion-First Floor

(FIFTH MENTION DUE TO UPDATE)

UPDATE:

Marvin Humphrey is a retired postal delivery person and the St. Helena Post Office still exhibits his paintings regularly. He has a new exhibit of paintings up now at the St. Helena Public Library.

***
Prov.: St. Helena Post Office; Calistoga Coffee Shop; Direct from Artist

FOUR "DECAYING ORANGE" PHOTOGRAPHS (2004) by MEL VERA CRUZ
Location: Babaylan Lodge

FOUR "EROTIC LEMON" PHOTOGRAPHS (2004) by MEL VERA CRUZ
Location: Babaylan Lodge

"[] SILK-SCREENED COLLAGE ON CARDBOARD (WHITE)" (2004) by MEL VERA CRUZ
Location: Galatea Offsite - SF Apartment

"[] SILK-SCREENED COLLAGE ON CARDBOARD (BLUE)" (2004) by MEL VERA CRUZ
Location: Galatea Offsite - SF Apartment

[FIFTH MENTION DUE TO UPDATE]

UPDATE:


Mel Vera Cruz is part of a new exhibition at Bindlestiff Studios in San Francisco:

MAY 4-6, 2006
"Bulaklak ng Dila"
Bindlestiff Studio
505 Natoma Alley (at 6th St)
San Francisco, CA

Here's more information:

Influenced by Manuel Ocampo, Red and Rizal, Filipino Collective Boondok Arts re-enters Bindlestiff Studio with “Bulaklak ng Dila”, an art installation and performance set in a theater space.

(San Francisco, CA) Last year, “Protektado”, their first exhibition as a collective, transformed Bindlestiff Studio into a sleeping womb. Murals by Mel Vera Cruz and England Hidalgo of a church covered in feces, photographs by Julius Dimanlig of the streets of Marikina, black and white prints by Lian Ladia of Christianized Aetas, and a single channel video documentary on the journey of an organizer to the Cordilleras were protected and shelled. This was an installation on “Our response to colonialism” they said.

This time from May 4th - 6th, “Bulaklak ng Dila (flower of the tongue)” an idiomatic _expression in the Filipino language, Tagalog that means “exaggeration of meaning” or “subversion from the truth” will show the universal concept of language and hypocrisy in an art installation by England Hidalgo, Angelica Cabande, Lian Ladia and Julius Dimanlig. Along with paintings by Mel Vera Cruz and Marcius Noceda and a short film directed by Nono Ani and photographed by Peggy Peralta entitled, "TV” a 6-minute short-film that explores reel and real life in the eyes of a modern child.

Bong Agung (also known as Ogie Gonzales) will have a CD release of his first solo album. Bong Agung’s accomplishments are important to the Filipino-American music scene being one of the founders of Pinoisepop and was one of the originators of punk movement in the Philippines with his band Valley of Death. He also played percussion for the legendary jazz rock band Bobby Banduria, the soul pop princess Golda, Charmin and along side Kulintang Master, Dannongan Kalanduyan. His album, Homebody will be released on the opening day of the gallery, May 4th.

Second day will be band performances from LA-based Pedro Gil, NYC/Bay Area's Power Struggle, Tagalog punk and folk band Tsubibo and Hardcore punk band Eskapo from Vallejo. May 6th will end with the screening of Kidlat Tahimik’s movie, “Perfumed Nightmare”.

Boondok Arts is a collective formed by students from the San Francisco Art Institute, Academy of Art University, and grassroots artists from the Bay Area Filipino-American community. Boondok Arts promotes progressive __expression of ideas through experimentation in different genres. Inspired by Jose Rizal and Juan Luna’s art collective in Barcelona and influenced by artists like Manuel Ocampo, Santi Bosse, Masferre and Raymond Red, these students, activists, musicians and scholars from the Philippines seek to create a movement that revolutionizes history through art.
CLICK HERE FOR MORE


***
Prov.: Direct from Artist

Saturday, April 15, 2006

DOUBLE CIRCLE (JANUARY, 1996) (OIL ON GRAPHITE ON CANVAS, 12 x 9 IN) by EVE ASCHHEIM
Location: Hallway Before Turret, Pygmalion-First Floor

REGULAR II (MARCH, 1997) (OIL ON GRAPHITE ON CANVAS, 9 X 12 IN) by EVE ASCHHEIM
Location: Hallway Before Turret, Pygmalion-First Floor

AUREOLE (JULY, 1997) (OIL ON GRAPHITE ON CANVAS, 12 IN DIAMETER) by EVE ASCHHEIM
Location: Hallway Before Turret, Pygmalion-First Floor

CONWAY (1995) (OIL, CHARCOAL, GRAPHITE ON CANVAS, 14 x 11 IN) by EVE ASCHHEIM
Location: Hallway Before Turret, Pygmalion-First Floor

[SIXTH MENTION DUE TO UPDATE]

UPDATE:


I just got my first set of author copies for my 2006 poetry book, THE SECRET LIVES OF PUNCTUATIONS, VOL. I, published by xPress(ed) of Espoo, Finland. I mention this because the book cover features Eve Aschheim's painting entitled "Conway" (go to link to see!).

PUNCTUATIONS also includes reproductions of two of Eve's images, her Artist Statement, and a brief write-up by me linking her imagery to punctuations -- in how the smallest gestures can resonate hugely!

***
Prov: Stefan Stux Gallery, New York

"UNTITLED" (2002) (GOUACHE ON WOOD PANEL) by CLARE ROJAS
Location: Galatea Offsite/San Francisco Apartment

"UNTITLED" (2003) COMMISSIONED SITE-SPECIFIC MURAL INSTALLATION (GOUCHE/LATEX ON WALL) by CLARE ROJAS
Location: Master Bedroom Hallway, Pygmalion-2nd Floor

"ACHILLES" (2005) COMMISSIONED PAINTING by CLARE ROJAS
Location: Living Room, Pygmalion-First Floor

[TWELFTH MENTION DUE TO UPDATE]

UPDATE:


Clare Rojas is part of a new exhibit, with Jen Liu and Bjorn Melhus, at Lizabeth Oliveria Gallery in Culver City, CA -- through to May 13, 2006. Here's the gallery's press release:

Lizabeth Oliveria Gallery is extremely pleased to present a 3-person exhibition featuring video work by Jen Liu, Bjørn Melhus and Clare Rojas.

Commenting on contemporary culture, each video uniquely examines issues ranging from escapism, to the absurdness of tele-reality celebrity, to sexual role reversal.

"Infinite Jam" is a 4 channel video piece by Jen Liu. The Infinite Jam, based on Liu’s current body of work “The Brethren of the Stone, or, The Stoners,” is as the artists states “an exploration of the image of bearded men in white robes, bringing together fictional 14th century monastic heretics, 60’s/70’s hippies, contemporary Muslim extremists, as well as contemporary bearded hipsters, in their shared desire to escape into a world of their own making. For the thing they all share is a doomed and frustrated feeling about the status quo, resulting in flight and hermetic denial.” Liu received her MFA from CalArts, Valencia, CA and her BFA from Oberlin College, Ohio. Her work has been featured in the LA Times, Art Forum, Art Review and Flash Art. In 2006 she will be participating in the group exhibitions Upstate, curated by Amy Smith-Stewart, Mary Boone Gallery, NY; The Liverpool Biennial, Liverpool, UK and Trial Balloons, Museo de Arte Contemporáneo de Castilla y León, Spain.

Using audio as a departure point for his videos, Berlin-based artist Bjørn Melhus deconstructs, reconstructs and recontextualizes familiar sound clips to develop his pieces. Acting as the main characters in his single channel video" The Oral Thing," Melhus humorously borrows sound from the Maury Povich show and seamlessly produces a futuristic version tapping into our need to publicly expose our faults in exchange for celebrity. Bjorn Melhus has studied at the Braunschwieg School of Art, HBK; DAAD Fellowship at CalArts, Valencia, CA & participated in the ISCP Program New York. Melhus’ work has been included in numerous group exhibitions such as State of Play, Serpentine Gallery, London; The American Effect, Whitney Museum of Art, NY; The 8th Istanbul Biennial, Turkey; He has had solo exhibitions and screenings at MOMA, NY; FACT, Liverpool, Kyoto Arts Center, Japan; and at the Honolulu Academy of the Arts, Hawaii. Bjorn Melhus is represented by Galerie Anita Beckers, Frankfurt, Germany and Roebling Hall, New York.

The ongoing degradation of women poses the basis for Clare Rojas’ "Naked Man," a short and poignant video animation, challenging the media’s subversive exploitation of women. Rojas places line drawn male figures in exaggerated sexual situations normally inhabited by women in fashion magazines, pornographic magazines and television ads. Rojas’ original folk music, along with jeers and cheers of a manipulated audience, acts as a soundtrack for her piece. Rojas has exhibited extensively with solo exhibitions at Deitch Projects, NY; Modern Art, London, UK; Gallerie Nicolai Wallner, Copenhagen, DK to name a few. Her work has been exhibited in solo museum projects at the MCA Chicago, IL; Knoxville Museum of Art, TN; and the Ulrich Museum of Art, Wichita, KS.

***
Prov.: Lizabeth Oliveria Gallery, Culver City, CA

"MARGINS: MINI INSTALLATION INCLUDING SHADOWBOX #1" (2005) (MIXED MEDIA) by EMMY CATEDRAL
Location: Babaylan Lodge

"MARGINS: PROTOTYPE DESIGN FOR NOTEPADS MADE FROM MARGINS" (2005) by EMMY CATEDRALLocation: Babaylan Lodge

[SECOND MENTION DUE TO UPDATE]

UPDATE:


Emmy Catedral sends the following invitation to her next exhibition:

You are cordially invited to attend the opening reception on

Friday, April 21, 2006
From 6-8pm

THE CENTER FOR BOOK ARTS
28 W. 27th St (betw. 6th Ave. and B'way), 3rd Floor
New York, NY 10001

No More Drama: The Saga Continues

This group exhibition presents recent works by contemporary artists responding to the popular culture media format of Latin American telenovelas (soap operas) and their printed comic-book versions called fotonovelas.

The exhibition features work in book form, comic strips, photographs, prints, and video. Addressing the influence and contemporary alterations of the book as an art object and blurring the boundaries between high and low media, these artists are also experimenting with narrative and disjunctive formats to complicate melodramatic content and discuss cultural politics.

The influence and importance of fotonovelas as popular literary works stems from their accessibility and mass-production, and hence can be seen as a form of subversive propaganda. Additionally, the social and political content found in fotonovelas allows for a greater popular discourse on issues considered taboo, such as gender, sex, religion, hierarchy, and economic inequalities. The goal of the exhibition is to shed light on how the fotonovelas as a mass produce book has influence contemporary art practices and, thus, expands the discourse of bookarts.

THIS EXHIBITION INCLUDES WORK BY Matias Aquilar, Emmy Catedral, Jaime Cortez, Alex Donis, Ray Felix & Marcus Jones, Chitra Ganesh, Edwin Gonzalez, Derek Jackson, Claudia Joskowicz, Swati Khurana, Kalup Linzy, Ivan Monforte, Ed Mouzon, Domingo Nuno, Lai-Chung Poon, Carlo Quispe-Salgado, Wanda Raimundo-Ortiz, Jaqueline Salloum, Ethan Shoshan, Luis Serra & Gary Camp, Boris Torres, and Megan Whitmarsh & Caroline Rankin.

ORGANIZED BY Edwin Ramoran, Curator, Longwood Arts Project

FEATURED ARTISTS PROJECT SERIES
Diane Samuels: Journeys & Home

BOTH ON VIEW UNTIL June 24, 2006

RSVP: 212-481-0295

***
Prov. Direct from Artist

TWO DRAWINGS IN E.T.'S ART/POETRY JOURNAL (2001) by G. SCOTT MACLEOD
Location: Library, Pygmalion-Second Floor

[TENTH MENTION DUE TO UPDATE]

One of the highlights of my 2001 residency at the Helene Wurlitzer Foundation of New Mexico was meeting Montreal-based artist Scott MacLeod. It was great seeing him make these Taos-inspired paintings. In my journal, he made drawings (one of them of a "Gotland Grave") related to his "Ancestral Homes" series; I was really pleased to hear later that his series were exhibited in 2002 at the Swedish American Museum Center in Chicago). I really love this series as it's narrative-laden while also working effectively as purely visual (even abstract) imagery.

UPDATE:

A Press Release regarding Scott's latest projects:

FOR IMMEDIATE RELEASE

La Raza Group will be exhibiting their Newfoundland Series from their Pouch Cove Residency at the

Jens Thielsen Gallery
Opening Saturday, April 1-22, 2006
1038 Adelaide St. North, London, ON
Canada
519 434 7681

To view work go to:
http://www.larazagroup.com/pouchcove.html
http://www.thielsengallery.com/displayexhibit.cfm?exhibit=35


POUCH COVE RESIDENCY April 1 to 30 2005

La Raza Group at the Pouch Cove Foundation By G. Scott MacLeod.

The residency
During this residency we translated our first hand experiences boldly in a series of paintings, drawing and a large collective mural. While traveling around St-John’s and the Avalon Peninsula we chronicled our experiences with camera and sketchbooks and used them later in the studio as reference material. Our large mural was on a 2’ X 30’ piece of Mylar, in addition to painting people and places of Newfoundland we wrote down daily journal entries.

Thanks to our tour guide, press agent, cook, driver, and source of inspiration, Lori Butler (or known as Red Leader for her beautiful hair) we were able to have access to the people and places of St-John’s and around the Avalon Peninsula and as a result we met printmakers, musicians, poets, fisherman, postal workers, inn keepers, veteran’s, school teachers, people from all walks of Newfoundland life with the intention of involving them in our process of discovering the island. We had people pose for photos and drawings and in the process we hoped to have them relate their personal stories, oral histories and local lore.


The Cove
Pouch Cove is one of the most eastern villages in Newfoundland and its claim to fame is the place ‘first to see the sun in Canada’. I saw this sign every morning above the library/community centre/day-care/fire department/town hall building when I went to do my email. This should give one a sense of how tight these seaside cove communities are.


THE ARTISTS AND THEIR ART

MacLeod and his Avalon Peninsula Series from memory

Scott’s Avalon Peninsula Series landscapes are painted in oil and encaustic on wood and Masonite. His subject matter was derived from areas he visited around the Avalon Peninsula such as Pouch Cove, Red Head, Black Head, Bell Island, Portugal Cove, Cape Spear, Signal Hill etc… the names are as dramatic and enigmatic as the locations. This work was not done on site but rather from memory in his Pouch Cove studio. It is an approach he has developed since his experience in New Mexico desert, this process came out of necessity as weather can shift and change suddenly, and Newfoundland was no exception. He experienced four seasons in four weeks and it is evident that he enjoyed the constant shifting drama of sea and landscape over the course of his stay. His paintings emanate these textural and atmospheric changes that invite the viewer in as a witness to the effects of snow, sleet, heavy rain, wind, calm sea, pounding waves, clear sky and sunshine on the Newfoundland landscape.
Caprani cultivating his Irish connection to the “new found land” of his ancestors

Francis responded to the objects in his immediate surroundings such as the fishing boats, hanging laundry, and houses on the cliffs of Pouch Cove. He illustrated the worn character of the land and the virility of the people in it, in oil, charcoal, ink on paper, Mylar and panel. The man made objects are almost indifferent in the face of nature oddly balance in its harsh and unforgiving climate. His boats are fragile but essential lifelines to the sea of sustenance. He was particularly taken with the Newfoundland way of life, as it was so similar to his memories of Ireland. Being on among Newfoundlanders to him was like being around distant relatives, which in fact is true as many Newfoundlanders are descendents of Irish fisherman, sailors, labourers and merchants.

Pedros and his stark religion, economy of line and colour in Gods country
Gerald became particularly interested in the church next to the residency and the changing skies in the cove. He produced a series of paper pieces in gouache, in each piece he dealt with different details and angles of the religious Newfoundland architecture. All are painted in three or four bold opaque colours reflecting economy of resources on the landscape and how solid the structures must be to endure the flogging wind, hail, rain and snow. These churches are temples, outposts on the edge of the earth, salvation for the pilgrim and family that settled the seas edge. His sky series are more transparent reflecting the paradoxical beauty and brutality of the maritime weather. These works are more following, visceral cloud formations loosely painted like turners watercolours. His compositions are details though the viewfinder, postcards to the self and reminder of humanities fragility in the face of nature or God.

In closing I must say that the Newfoundlander has not forgotten how to enjoy a turn a phrase, a song, how to support their communities and most of all, their best-kept secret, which is how to enjoy life despite the hardships of their history.


Thank you Newfoundland
I wish to thank all the lovely people of Newfoundland who made this experience as memorable as it was. Special thanks to the people of Pouch Cove, Lori Butler a.k.a. (Red Leader) and family for Newfoundland delights and the tour de l’ile, the Elliot family, Loretta Decker and Brigitta Wallace from Parks Canada the custodians of the L’Anse aux Meadows site, Claire-Marie Gosse from The Independent, Craig Welsh from The Express, Angela Antle from CBC St-John’s, David Marshak and family, Martha Eleen, John Maggio, Linda from the Quidi Vidi Inn, people from The Duke, Leo and the Folks at the Crow’s Nest, Cape St-Francis Elementary School, Mr. & Mrs. Redpath, Angie and Jim Baird, Mary for the wonderful tour of Bell island, David Bolduc for his Volvo service, Norma Nixon, Maurene White, Sophie Jodoin, Jan Lundgren, Canadian Scandinavian Foundation, Sean Cahill ands Noelle Harris, Corina Boland of CB CD, Tridea, and the Jens Thielsen Gallery.

WEBLINKS
http://www.larazagroup.com/pouchcove.html
http://www.thielsengallery.com/displayexhibit.cfm?exhibit=35

EMAIL
therace@larazagroup.com

***
Prov.: Direct From Artist

Saturday, April 01, 2006

"MT-M13" (2005) (WATERCOLOR, INK AND GRAPHITE ON PAPER, 15 x 18 IN UNFRAMED) by EMILIE CLARK
Location: Library Bathroom, Pygmalion-First Floor

[FOURTH MENTION DUE TO UPDATE]

UPDATE:


Congratulations to Emilie Clark who received a brief review of her exhibit, Rare Specimen, in the New Yorker.

RARE SPECIMEN: THE NATURAL HISTORY MUSEUM SHOW featuring works by Emilie Clark, Mark Dion, Walton Ford, Alexis Rockman, Steve Mumford, Karin Weiner, Wes Lang, Jeff oppa, and Nicole Tschampel.

From the New Yorker:

“RARE SPECIMEN”
From 1869 to 1877, before it moved into its home on Central Park West, the American Museum of Natural History displayed its specimens in the Arsenal, in Central Park. Those galleries are again turned to meditations on the natural world with this surprisingly witty group show, featuring work by Karin Weiner, Alexis Rockman, Wes Lang, and several other artists. Emilie Clark’s dreamy, vaguely botanical watercolors provide a cozy counterpoint to Jeff Hoppa’s white-grounded pencil drawings of skulls and skeletons; Mark Dion sketches a birder’s kit, complete with guidebooks and a folding stool; Walton Ford’s three-toed kingfisher clasps a fishing lure in its beak. Through April 12. (The Arsenal Gallery, in Central Park, entrance at 64th St. and Fifth Ave. For more information, call 311.)

The Arsenal Gallery in Central Park
Fifth Avenue at 64th Street, Manhattan

***
Prov.: Nathan Larramendy Gallery, Ojai, CA

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