See Line Gallery

Finale

admin — Mon, 16 Mar 2015 21:08:37 +0000

See Line Gallery has evolved into
Janet Levy Projects

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Elizabeth McCord Paintings

admin — Fri, 30 Aug 2013 22:46:19 +0000

Lintel Landscape

Lintel Landscape,1971
Acrylic On Masonite
30 x 40 inches

ECgalleryview

Elizabeth McCord Paintings Gallery View

Venice Beach, 1957

Venice Beach,1957
Oil On Masonite
40 x 30 inches

Painting #10

Painting #10, 1975
Acrylic on masonite
20 x 24 inches

“Our own body processes are accessible to the direct experience of painting and this is the ‘message’… Painting is a balance of paint energy.”- Elizabeth McCord, 1981

See Line Gallery is pleased to present Elizabeth McCord Paintings, an exhibition of rarely seen and newly discovered paintings from the 1950s, 1960s, and 1970s by groundbreaking California modernist artist Elizabeth McCord (1914 -2008). It is the most in-depth examination of McCord’s work in nearly 20 years.

Elizabeth McCord was born in 1914 in Dayton, Ohio. From 1932 to 1934, she studied at the Art Institute of Chicago; after graduation, she taught at the Hull House, Chicago’s first social settlement. While participating in the Work Progress Administration (WPA) between 1939 and 1943, McCord created her first mature works, several of which were exhibited in 1940 at the National Museum of Art in Washington, D.C.

In 1945 McCord moved from Chicago to Los Angeles. Her paintings—colorful biomorphic and architectural abstractions that helped to shape California’s hard-edge movement of 1950s, were greeted with widespread acclaim, frequently appearing in shows at the Los Angeles County Museum of Art, the San Francisco Art Museum, the Long Beach Museum of Art, the Los Angeles Art Association, and the Art Center School of Design alongside works by Lorser Feitelson,
Helen Lundeberg, Josef Albers, June Wayne, and Knud Merrild, among others.

McCord’s paintings were uniquely poised at the intersection of Southern California’s thriving mid-century art, design, and architecture scenes. In 1951, McCord’s work was featured in LACMA’s cutting-edge exhibition, Painting in the USA; the same year, she participated in Six Portable Murals, a group show organized by the Los Angeles Art Association that advertised itself as a collection of paintings “designed especially for mid-century architecture.” “Painting,” a large McCord abstraction acquired by June Wayne and prominently displayed in Wayne’s Alvin Lustig-designed home, appeared on the cover of the Nov. 11, 1951 issue of The Los Angeles Times Home magazine in a color photograph by
Julius Shulman. Leading architectural critic Esther McCoy wrote the accompanying article

In 2011, the seeds of a McCord revival were planted when her Big Pink (1951; on loan from the Long Beach Museum of Art’s permanent collection) was the only painting chosen to appear in Living in a Modern Way, LACMA’s sweeping, celebrated survey of mid-century California design (which is currently traveling internationally). Big Pink was the only painting in the show.

Now, with a wide selection of rare and unseen paintings handpicked from family archives by curator Janet Levy, Elizabeth McCord Paintings both deepens and expands upon the ongoing—and long overdue—rediscovery and reevaluation of this seminal modernist’s work. The biomorphic, hard-edge forms of the 1950s give way, in the 1960s and 1970s, to paintings that blend looser brushstrokes with tighter geometrical masses yet continue McCord’s intensely personal, near-architectural exploration of “light and form”—a style she described in 1981 as “a pulsating surface superimposed over a cubist architecture with transparencies, arabesques and rectangular parches.”

“[I] mov[e] around over the canvas with color until something speaks to me, some discovery is made,” said McCord. “Then begins a long process of adjusting and destroying, adding and subtracting until the surface falls into place with a balance of movement and peace.”

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Cristopher CichockiEpicenter

admin — Fri, 22 Feb 2013 19:53:00 +0000

Cristopher Cichocki

Epicenter Gallery View

Cristopher Cichocki

Epicenter Entrance

Cristopher Cichocki

Central Division, 2013
Mixed media on panel
4 panels 16 x 16 inches each

Cristopher Cichocki

Synthetic Organism #1-18, 2013
Inkjet print on archival paper
20 x 16 inches

Cristopher Cichocki

Core/em>, 2013
mixed media on panel
48 inches

Cristopher Cichocki
San Andreas Division, 2012
Mixed media on panel
9 panels 16 x 16 inches each

Cristopher Cichocki
San Andreas Plate 2013
mixed media on panel
48 inches

Cristopher Cichocki
Frequency 2 2013
Enamel on mirror
36 inches

See Line Gallery presents the first Los Angeles solo exhibition from Coachella Valley-based artist Cristopher Cichocki, entitled Epicenter, including paintings, photographs and sculptures. Epicenter is curated by See Line Gallery owner and independent curator Janet Levy.

The Coachella Valley is a diverse Southern California desert region located along the San Andreas Fault Line, the “master” fault of an intricate network that cuts through California’s coastal region. Epicenter investigates the ephemeral nature of the San Andreas Fault as an existential meditation of time and space in constant flux.

Epicenter showcase’s Cichocki’s ongoing body of work, which spans eight years and explores, intervenes, and comments on the Salton Sea and other desert regions. An extension of his studio, the open desert becomes the setting for momentary installations, paintings and sculptures, which he further frames through photographic fragmentation. Through gestures of immediacy and raw materiality, Cichocki promotes an awareness of interconnection between continually shifting elements above and below the surface of everyday perception. “Post-Earthwork” landscapes, topographies and micro worlds are brought forth within a palate of acidic neon contrasted by arid earth tones and textures. Within his “San Andreas Series” Cichocki has painted highly textural mixed-media panels reminiscent of cracked asphalt and desert earth which simultaneously suggest satellite topographies, both earthbound and planetary. Sculpturally Epicenter yields neon orange branches emerging from rusted steel foundations in combination with living cacti transplanted into cinder blocks. Cichocki will also present his ”Synthetic Organism” photographs, a large series of circular cropped prints abstracted from decaying desert terrain. The perception of Cichocki’s painting and photographic works oscillate between telescopic and microscopic. A visual archetype permeates throughout Epicenter, illuminating nature as a symbiotic system of chain reactions.

Cristopher Cichocki was born in 1979 in Charleston, Ill., and received his BFA in 2001 from California Institute of the Arts. Palm Springs Art Museum selected him as its 2013 Artist In Residence. From July to September, the museum will exhibit his solo installation, Desert Abyss: Cycle in Cycle. Other recent exhibitions include: ROJO® NOVA Casa Franca Brasil, Rio de Janerio, Brazil; Time Based Art Festival, Portland Institute of Contemporary Art, Portland, Ore.; Full Pull, Inter Arts Center, Malmö, Sweden; ROJO® NOVA, Museum of Image and Sound,
Sao Paulo, Brazil; Remains in the End Times.

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Epicenter appeared first on See Line Gallery.

The Gray Room

admin — Sat, 10 Nov 2012 02:01:53 +0000

Installation View

Installation View

The post The Gray Room appeared first on See Line Gallery.

Blended

admin — Fri, 09 Nov 2012 00:09:14 +0000

Installation View

Installation View

Installation View

Dave Müller
Installation View

Tito Fuentes
Installation View

Brian Butler
Night of Pan, 2012
Video Still
19.5 x 29.5 inches
Edition 1 of 5

Nathan Bell
Love Is Real, 2012
Ink on archival paper
29 x 21.75 inches

Yasmin Than
SQUINT n.1 (hotel), 2012
Photo Collage
28 x 21 inches

Yasmin Than
Io Echo (Beach) n.2, 2012
C-print
15 x 10 inches

Eddie Ruscha
GO BANG! 1, 2012
Acrylic, ink, glitter on canvas
38.5 x 38.5 inches

Eddie Ruscha
7 and 7 is, 2013
Acrylic on canvas
16 x 12.25 inches

Brian Roettinger
Objective creation in the silent hope that the resulting product will eventually be looked upon as art, 2012
Ink on canvas
8 x 10 inches

Corey Fogel
Vizcaya, 2013
Mixed Media
Dimensions Variable

Blended, curated by Janet Levy, brings together artists that intermix diverse disciplines inspired by music, exploring the relationship of music and visual art. Their musical influences are expressed in various mediums including drawing, photography, collage, works on paper, painting, sculpture and installation.

Nathan Bell’s drawings are strongly influenced by pop culture and music, he recently collaborated on a t-shirt with the band Divine Fits. Brian Butler is an artist, filmmaker and musician, he is the lead guitarist for Technicolor Skull a collaboration with Kenneth Anger and recently directed Black Lips “Modern Art” and Divine Fits “Would That Not Be Nice” videos. Corey Fogel presents performance and sculpture using sound, objects, textile and food; he is a drummer currently working with Julia Holter. Tito Fuentes is a founding member; guitarist and vocalist of the Mexico City band Molotov. His collages and photography pieces are reminiscent of earlier surrealist works. Dave Muller is an artist and DJ whose works on paper present a dialogue about his musical interests through depictions of albums from his collection of thousands.
Brian Roettinger’s gateway into design was through his early fascination with album artwork. He owns the record label Hand Held Heart and amongst others, collaborates with the band No Age. Eddie Ruscha is a visual artist and a musician/DJ known as Secret Circuit. He has released many albums under many different aliases and has been involved in many art shows around the world. His visual work is deeply affected by music and vice versa.
Yasmin Than is influenced by the darker side of indie rock, apparent in her collages and photography of the band IO Echo.

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Christopher Haun

admin — Thu, 08 Nov 2012 23:00:14 +0000

Detail

Installation view

Installation view

Installation view

Installation View

Arctic wave: Big Breakwater addresses our particular connection with water and its motion and aims to encapsulate a specific moment in time when water has been rendered motionless, frozen in time. This waveform creates a pure atmosphere of light, color, and texture inspiring a contemplative attitude through the transformation of the ordinary into the mystical. Drew Kampion writes in The Book of Waves: “The winds speaks the message of the sun to the sea, and the sea transmits in on through the waves. The wave is the messenger, the water the medium…” Surfers feel a special connection to the ocean environment because they are in tune with the frequency and rhythms of the sea. This rhythm creates a feeling of tranquility for all of us. Waves are physical manifestation of the pulse of the earth as it relates to the moon. Water is in constant motion, changing from solid to liquid to gas. The familiarity of water is that it is life sustaining, always moving, tides ebbing and flowing with waves breaking and receding. In this project, the message is tranquility, calm, and stillness. Giving the earth a break, to breathe and be itself, giving our selves a moment to pause and reflect; embracing the infinity that transcends the foundation of our being and our human experience.

Born in Macon, Georgia, Haun studied in Los Angeles; earning his Bachelors of Fine Arts from Otis/Parsons School of Art and Design. Haun’s work has been exhibited at the Samuel Dorsky Museum of Art, the Contemporary Art Center New Orleans, and the Frederick R. Weisman Museum of Art. He has had solo exhibitions in Los Angeles in New York, and his work has been exhibited nationally in numerous group exhibitions. His work has been reviewed in Art on Paper and LA Weekly and has been featured in Angeleno and Resource. His works are in private collections including Creative Artists Agency Collection, Frederick R. Weisman Art Foundation Collection, and Francis J. Greenburger Collection. He currently lives and works in Los Angeles and New York.

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Lesley Moon

admin — Thu, 08 Nov 2012 22:53:05 +0000

Detail

Installation view

Installation view

Installation view

Installation view

The Golden Veil (Et in Arcadia…) is a large-scale photographic work in which we see hundreds of golden spheres strung together in a chain and hung like a curtain, lit up and glittering. There is mystery in the image, for as enchanting and beautiful as the veil is in itself, it also obscures the space behind it – provoking one to desire for the unknown behind the veil, implying a kind of salacious morality tied up in the veil’s presence as it establishes the boundary between what is known and not known. Perhaps the most surprising element of the photograph lies outside of the borders of the image, within the diagetic space that the veil articulates, which speaks self-reflexively of the image’s audience, and the imaginative possibilities that lie within its interpretation. The shimmering veil teases, for as much as it beckons curiosity about the space it hides, it revels as an object of desire in its own right, iconically raising questions of the act of viewing itself and imagistic power.

Lesley Moon is an artist and writer, born in Santa Monica, CA. She studied Sculpture and New Genres at the University of California, Los Angeles. Moon’s work has been shown in numerous solo and group exhibitions nationally. Her particular interests are in the poetics of photography, geometry and the energetic, semiotic morass of Los Angeles and high fashion. Before studying Art and Comparative Literature at UCLA, she worked as a commercial photographer taking pictures of Hollywood ephemera and rarities for an associate of Sotheby’s. She recently attended the Mountain School of Arts; an experimental post-graduate program located in LA’s Chinatown and is a part of New Atlantis Enterprises, a collaborative organization based in West Hollywood with Piero Golia, Sarah Lehrer-Graiwer and Justin Van Der Fehr. Her work was recently shown at the Musee Los Angeles exhibition.

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The Mythology of Interiors

admin — Thu, 08 Nov 2012 22:39:46 +0000

Live video performance

Live video performance

Live video performance

Live video performance

Live video performance

Live video performance

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Michael Worthington

admin — Thu, 08 Nov 2012 18:29:50 +0000

Just a Band, 2012" />

Just a Band, 2012

440 Metal Buttons
Dimensions Variable

Just a Band, 2012" />

Just a Band, 2012

440 Metal Buttons
Dimensions Variable

Michael Worthington’s Just A Band, prompted from Scroobius Pip’s “Thou Shalt Always Kill” is indicative of the shift in the cultural importance of bands from his youth. The text “Just A Band” is made up of 440 hand made buttons, available to take Sunday at 5pm

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Michael Coleman

admin — Thu, 08 Nov 2012 18:24:46 +0000

Sorry, It's Temporary" />

Sorry, It's Temporary

Sunday, August 26, 2012

Sorry, It's Temporary" />

Sorry, It's Temporary

Sunday, August 26, 2012

Sorry, It's Temporary" />

Sorry, It's Temporary

Sunday, August 26, 2012

Michael Coleman will produce a diptych poster series for Janet x Janet exhibition, Based on notions of temporary, these limited edition silkscreen posters, Sorry It’s Temporary will be hand printed onsite. Poster A printed on Saturday and Poster B on Sunday.

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