Happening 2013: LACE Benefit Art Auction is almost here!
nine silkscreen prints, each print is 13 1/4" x 9"
installation vary, numbered, signed, and dated on reverse
printed by Christian Zickler, Frankfurt; ed. of 15
Jorge Pardo's interest in the peculiar landscape of southern California and the play of modernist forms has resulted in these 135 unique botanical studies. The entire edition was made from twelve silkscreens that have been layered and reconfigured in different colors and combinations. The result is fifteen exquisite portfolios, each comprised of nine monoprints in combinations set by the artist. Because Pardo reconfigured the templates each time a print was pulled, every print -- and thus every portfolio -- is unique. The edition in its entirety was exhibited in "Home Sweet Home" at the Hamburg Deichtorhallen last autumn. Pardo is represented by Patrick Painter Inc., Santa Monica.
Jorge Pardo, a Cuban-born, Los Angeles-based artist, is widely known for producing artwork that combines elements of sculpture, design, and architecture. In 1998, the Museum of Contemporary Art Los Angeles unveiled one of his largest projects to date -- 4166 Sea View Lane, a house in the Mount Washington area of Los Angeles that the artist designed, built, and in which he resides. Pardo's work has been included in numerous group exhibitions around the world, including, "KolnSkulptur 1" in Cologne; "Assuming Positions" at the Institute of Contemporary Art, London; "Rooms with a View -- Environments for Videos" at the Guggenheim Soho in New York, and many others.
Unresolved Images, 1968-1971, 1998
21 silver gelatin prints on 4-ply matboard with handwritten vellum sheet and red, leatherette-covered handmade box, 8 1/4" x 10 1/4" x 1 3/4" closed, each photograph is 8" x 10", numbered, signed, and dated on vellum sheet
ed. of 7
Between 1968 and 1971, Paul McCarthy took a series of photographs which, while never printed, were used privately by him as references for later work. This collection of photographs comprises Unresolved Images, 1968-1971. Collectively, the photographs in this piece offer an astonishing look at the mind of McCarthy in the early years of his artistic development. The photographs are mounted on heavy board and are presented in a special box. They are accompanied by a vellum sheet with comments handwritten by McCarthy that instruct the viewer to handle the photographs "like a deck of cards," rather than framing or mounting them.
An internationally recognized artist, Paul McCarthy has been a prominent presence in the Los Angeles art scene since the early 1970s. He has influenced generations of younger artists through his multi- disciplinary artistic practice, which include film, video, performance, and photography, and as a professor at UCLA. In 1980 McCarthy presented two performances at Los Angeles Contemporary Exhibitions. His work has been exhibited worldwide, and he is collected in major international museums. Patrick Painter Inc. of Santa Monica represents him locally.
Ben Gazzara, Los Angeles, California, March 21, 1998, 1998
Selenium-toned silver gelatin photograph in welded aluminum frame, 19 1/2" x 22 3/4" x 1 1/4"
numbered, signed, and dated on reverse
ed. of 15
In a rare black-and-white portrait, artist Sharon Lockhart creates a quiet yet intensely provocative character study. The subject is actor Ben Gazzara, a well-known colleague of director John Cassavettes, whose films have greatly influenced Lockhart. This photograph is unusual within the artist's impressive body of work because of its subtle scale, which matches nearly one-to-one the size of the subject's head. The image was captured using an 8" x10" camera, which offers intriguing and at times unsettling detail (including the reflection of the camera in the eyes of the subject). Like much of Lockhart's work, this photograph invites quiet contemplation and rewards sustained viewing. The carefully calibrated size of the image, combined with the rich use of black and white, make this photograph unique -- an intimate exposure of the subject in repose as well as of the artist's passion for her mentor, the great filmmaker Cassavettes.
Sharon Lockhart's work has been seen in numerous prestigious group exhibitions and film festivals such as "Hall of Mirrors: Art & Film Since 1945" at the Los Angeles Museum of Contemporary Art, the 1997 Whitney Biennial, Sundance film festivals, and "New Directors/New Films" at the New York Museum of Modern Art. In 2000 she will have a solo exhibition at the Museum Boijmans van Beuningen in Rotterdam. She is represented by Blum & Poe of Santa Monica.
Angry Horde, 1998
orange tree branch, torch head, torch hose, valved propane tank of 20 ounces
2 1/2", torch hose c. 6'; overall dimensions of installation vary;
numbered, signed, and dated on bottom of orange tree branch; ed. of 15
Much of the work of Martin Kersels embodies a humorous contrast between awkwardness and grace. Angry Horde is no exception. The piece consists of an orange tree branch with a hole drilled through it vertically from top to approximately one-third from the bottom. Threaded through the hole is a rubber hose connected to a torch head embedded in the top of the branch and, at the other end, to a small propane tank that sits on the floor. Accompanying the piece is a striker like those used in labs to ignite bunsen burners; embedded in the branch is hardware that offers the option of hanging the piece on a wall. Kersels has created an amusing, poignant, and utterly non-partisan object that can function as easily for a member of rioting mob as it can for the collector who needs an elegant poolside torch.
A multi-media visual artist, Martin Kersels's work has been exhibited across the country and worldwide, in such shows as "Defining the Nineties: Consensus-Making in New York, Miami, and Los Angeles" at the Museum of Contemporary Art in Miami, the 1997 Whitney Biennial, "La Belle et La Bete: Un Choix de Jeunes Artistes Americains" at the Musee d'Art Moderne Ville de Paris in France. He is represented in Los Angeles by ACME.
Roland ink-jet print, 16" x 20" (unframed); ed. of 15
James Welling has produced a new color photograph. As Welling has not worked in color photography since the early 1980s, this is very exciting return to a photographic exploration, as well as the beginning of a new body of work. The image Welling has produced is a verdant-saturated landscape, investigating his interest in the challenge of capturing the color green on film. A fastidious technician, Welling devised a technique for rendering the image by exposing three pieces of 8" x 10" Tri-X black-and-white film through red, green, and blue Kodak separation filters. The photograph was made by scanning the three separate negatives, then assigning them their corresponding color (R, G or B) and layering them in Photoshop®. The image was directly output to a Roland printer by Muse [x] Editions. The overall result is a composite color image of a landscape. Where the color at first glance seems plausibly "normal," it reveals itself upon further examination to offer extraordinary color distortions. Like all of Welling's work, what at first appears conventional and straightforward becomes odd and unexpected upon further viewing.
James Welling is a notable Conceptualist, graduating from CalArts with such other luminaries of that movement as Mike Kelley, Tony Oursler, and Matt Mullican. In his near-thirty year career, Welling has developed international success mounting solo exhibitions at the Sprengel Museum Hannover, Hannover; the Carnegie Museum of Art, Pittsburgh; the Kunstmuseum Luzern, Luzern; Metro Pictures, New York; The Arts Club of Chicago; among many others. In addition, Welling will have a major mid-career retrospective at the Museum of Contemporary Art, Los Angeles this winter. James Welling is represented in Los Angeles by Regen Projects.
House Rotation Blue: West View, North View, East View,
South View, 2000
intaglio print with aquatint and photo-engraving
11 3/4" x 17 3/4" each; approximately 11 3/4" x85" installed
ed. of 15
Kevin Appel has produced an intaglio print with hand-applied aquatint and photo-engraving on Sommerset satin paper. Each edition consists of four separate images rendered in an ethereal, cool blue. The images are of an imaginary, idealized glass structure viewed from four different angles which represent a full rotation, (west, north, east, south), around the "house." Appel's challenge was to inspire the sense of a transparent material, glass, by subduing the opaque nature of ink and paper. This great technical challenge was overcome
through layering ink in multiple printing processes and through the skills of master printer Anthony Zepeda under Appel's direction.
Each edition is comprised of four elements of 11 3/4" x 17 3/4" each which hang in a straight line with approximately 4-5" between each frame (framing instructions included). The order may begin with any print and follow the compass in a clockwise rotation (i.e., west, north, east, south or east, south, west, north, etc.). It is accompanied by an 8 1/2" x 11" color photocopy of a plan view from which the image was derived.
In 1999, Kevin Appel was awarded the Citibank Emerging Artist Award by the Museum of Contemporary Art, Los Angeles where Appel mounted his first solo museum show last winter. Additionally, Appel has had his work exhibited at Angles Gallery, Santa Monica; Food House, Santa Monica; South London Gallery, London; Galerie Peter Kilchmann, Zurich; Deitch Projects, New York; and Los Angeles Contemporary Exhibitions. Appel is represented by Angles Gallery in Santa Monica.
Xerox transfer, watercolor, colored pencil on paper, 14" x 10"
ed. of 15
Laura Owens produced a series of monoprints, each of which combine the technology of color Xerox reproduction with unique hand-drawn touches. Each print was individually enhanced with watercolor and colored pencil to create a slightly different, yet unique image. The result is a fanciful depiction of a tree surrounded by birds perched on branches and in flight.
Laura Owens' work has been widely exhibited nationally and internationally. Her most recent work was included in "Cave Painting" at the Santa Monica Museum of Art and "Urgent Painting" at the Musee d'Art Moderne de la Ville de Paris. She has also been included in exhibitions at Museum of Contemporary Art, Los Angeles, the Walker Art Center, the Guggenheim, New York and San Francisco Museum of Modern Art. Her first highly anticipated solo show was held at Museum of Contemporary Art, Los Angeles in 2003.
Mini Skyscraper On Little Mesa, 2003, Four color offset print on
embossed metal, signed and numbered by the artist
35" x 28"; ed. of 100
"Mini Scraper On Little Mesa" relates both formally and conceptually to "Small Skyscraper," the building/sculpture that was on view at Los Angeles Contemporary Exhibitions from 1 May through 27 July 2003. The edition uses one of Burden's "Site-Possibility" drawings -- a series that depicts the small skyscraper in various locations on Burden's property in Topanga Canyon. The image of the building/mini scraper is embossed to lift it from the landscape. Printed in 4-color process, the interior of the mini scraper is green and blue and denotes the floor and glass respectively. The print is signed and numbered with finished edges and is ready to hang.
Well-known for creating work that is challenging, provocative, and even dangerous, Chris Burden has been exhibited nationally and internationally since 1971. Most recently his work appeared in a solo show titled “Bridges and Bullets” at Gagosian Gallery, Beverly Hills. He is currently a professor and Head of New Media at the University of California, Los Angeles.
edition of 50
For more information please call 323-957-1777.
edition of 100
For more information please call 323-957-1777.
T-Shirt Edition, 2003
edition of 100
For more information
please call 323-957-1777
30" x 22"
ed. of 100
This edition was produced for the 23rd Annual Benefit Art Auction for Los Angeles Contemporary Exhibitions.
Raymond Pettibon is a cult figure among underground music devotees for his early work associated with the Los Angeles punk rock scene. He acquired an international reputation as one of the foremost contemporary American artists working with drawing, text, and artist’s books. Pettibon is as likely to explore the subject of surfing as he is typography; themes from art history and nineteenth-century literature appear in the same breath with American politics from the 1960s and contemporary pop culture. Pettibon is represented by Regen Projects (Los Angeles) and David Zwirner (New York). Retrospectives of his work have been held at the Philadelphia Museum of Art, the Santa Monica Museum of Art, and the Museum of Contemporary Art, Los Angeles. In 2002, an exhibition of his drawings, Plots Laid Thick, was organized by the Museu d’Art Contemporani de Barcelona, Spain, and traveled to the Tokyo Opera City Art Gallery, and the Haags Gemeentemuseum in the Netherlands. Pettibon’s work was also featured at Documenta XI in Kassell, Germany. Pettibon lives and works in Hermosa Beach, California.
Vacuum formed plastic, 34" x 34"
(four 17 x 17" panels)
ed of 50 in white; ed of 50 in silver
Southern California artist Jim Isermann is well known for liberating formal and conceptual parameters around art and design. Deceptively simple in its design, Jim Isermann's limited edition fuses economy of form with personal ingenuity and flair. In this case, the colored plastic material is at once absorbent and reflective, and although the pieces themselves are lightweight, the work looks and feels substantial. When installed, four identically contoured, vacuum-formed plastic tiles combine to form one modular diamond shape, creating a minimalist structure that looks stately and sophisticated but feels friendly, a two-fold quality often experienced in this artist's work.
This limited edition presents a rare opportunity to collect a work by this prominent California artist, who has been exhibiting in the U.S. and internationally since 1980, the year he received his MFA from California Institute of the Arts. Jim Isermann is represented by Richard Telles Gallery (Los Angeles), Feature Inc.(New York), and Corvi-Mora (London). His work has been featured in numerous group exhibitions, including "Beau Monde: Toward a Redeemed Cosmopolitanism," The Fourth International Biennial, Site, Santa Fe (2001), and "Sunshine and Noir: Art in L.A. 1960-1997," Louisiana Museum of Modern Art, Denmark (1997), to name just three. The artist has had solo exhibitions at UCLA Hammer Museum (2002), Centre d'art Contemporain, Grenoble, France (1999), Santa Monica Museum of Art (1999), among many others. Recent commissioned public projects include permanent installations at The University of California, San Francisco (2003), and L.A. Eyeworks, Los Angeles (2002).
This limited edition presents a rare opportunity to collect a work by this prominent California artist, who has been exhibiting in the U.S. and internationally since 1980, the year he received his MFA from California Institute of the Arts. Jim Isermann is represented by Richard Telles Gallery (Los Angeles), Feature Inc.(New York), and Corvi-Mora (London). His work has been featured in numerous group exhibitions, including "Beau Monde: Toward a Redeemed Cosmopolitanism," The Fourth International Biennial, Site, Santa Fe (2001), and "Sunshine and Noir: Art in L.A. 1960-1997," Louisiana Museum of Modern Art, Denmark (1997), to name just three. The artist has had solo exhibitions at UCLA Hammer Museum (2002), Centre d’art Contemporain, Grenoble, France (1999), Santa Monica Museum of Art (1999), among many others. Recent commissioned public projects include permanent installations at The University of California, San Francisco (2003), and L.A. Eyeworks, Los Angeles (2002).
Street Sign, 2004, 15 1/2" x 24", signed and numbered
ed. of 100
This edition was produced for the 25th Annual Benefit Art Auction for Los Angeles Contemporary Exhibitions.
Mike Kelley and LACE have a long history together. When Kelley moved to Los Angeles in the mid 1970’s to attend the California Institute of the Arts in Valencia, several of his first public performances and exhibitions occurred at LACE including “The Little Girls Room” where Kelley exhibited props, drawings, photographs, writings and an environmental audiowork. “Confusion: A Play in Seven sets, Each Set More Spectacular Than the Last” was a narrative performance that used props as an attempt to follow certain trains of thought to their logical end. Building his reputation as a provocateur, many of his pieces critique American culture and consumerism and are intended to make the viewer uncomfortable. Kelley has had numerous solo shows, including two traveling midcareer retrospectives, organized by the Whitney Museum of American in New York and the Museu d'Art Contemporani de Barcelona. He has been included in many prestigious group exhibitions such as the Whitney Biennial, Carnegie International, and Documenta.
Untitled, 2005, Lightjet print, 20" x 14"
ed. of 20 for each image
Cranston's work often combines text and imagery from popular culture. In producing these two prints for Contemporary Editions Los Angeles, Cranston took inspiration from posters in donut shops. In contrast to the slick and highly produced product shots that are seen in mainstream food advertising, Cranston selected her subjects, onion rings and a stick for their "grubby" appeal. She made the artwork by literally putting the onion rings directly on her scanner. Same for the stick. Each artwork reflects a deep appreciation for the texture of our everyday lives.
Meg Cranston has shown internationally since 1988. She has been the recipient of a New School of Social Research Faculty Development Grant, an artist grant from the Penny McCall Foundation, a Guggenheim Fellowship and a faculty research grant from the Center for Asian American Studies at UCLA. In April 2005, Cranston participated in a LACE exhibition entitled "A Walk To Remember" where she took audience members on a guided tour of Sherman Indian High School in Riverside, one of the few remaining off reservation Indian boarding schools in the United States.
Study for "Hanging Rubberman #1", 2005, original lithograph with multiple plates, 22î x 30"
ed. of 20
Monica Majoli's artwork hauntingly engages issues of sexuality, mortality and transcendence. Since 1999, she has been creating an extensive series of watercolor and gouache drawings of men engaged in forms of fetish bondage that involves the wearing of rubber suits. For this print, Majoli has worked from one of her visually arresting images of a male subject suspended vertically in a harness. Her edition employs lithography printing techniques to capture the man's fluid, disembodied consciousness encased within the confining rubber skin.
Majoli earned her BA and MFA from the University of California, Los Angeles. She has exhibited extensively in the United States and throughout Europe. In addition, she has taught drawing and painting at numerous colleges and universities throughout Los Angeles and Orange County. She is represented by Gagosian Gallery. She is currently teaching painting at UC Berkeley.
Untitled (K.C.), 1996, 2005, Cibachrome, 9 3/4" X 14"
ed. of 50
After receiving an MFA in painting from CalArts in 1989, Jeff Burton began a career as a stills photographer on the sets of adult movies. Untitled (K.C.) demonstrates Burton's careful attention to the compositional possibilities of the pornographic scene. In K.C., as with much of Burton's work, bodies hold more than the promise of sex - they offer the opportunity to reinvest in the urgent pleasure of looking. While genres collide and attentions wander, Burton's work advocates for a desire that reaches beyond the proscribed boundaries of sex into the landscape of the everyday.
Jeff Burton lives in Los Angeles. He has had numerous solo shows in the U.S., Japan and Europe. His work has also been included in many group exhibitions, including Beau Monde/Site Santa Fe 4th International Biennial (2001), curated by Dave Hickey, and Stills: Emerging Photography in the 1990s (Walker Art Center, 1997). Burton's photographs are collected in three monographs: Untitled (Composite Press/Hougado Corp., 1998), Dreamland (powerHouse Books, 2001), and The Other Place (Twin Palms Publishers, 2005), which includes an essay by Bruce Hainley. He is represented by Casey Kaplan, New York and Sadie Coles HQ, London.
This edition was generously printed by Weldon Color Lab.
Hotel Room, 2005, series of five duotone prints, each print is 12 1/2" x 16", installation dimension varies, numbered, signed, and dated on reverse;
ed. of 15
Amy Adler's artwork examines notions of authorship by exploring the relationships between artist, subject, and viewer. She has selected a suite of five self-portraits as the subject of her LACE edition. Using her inventive method of art making, Adler shows how the hand of the artist can be used to manipulate the image and our interpretation of it.
For this project, she has selected photographs from her personal collection as the initial source to make each drawing. She proceeds to create the next iteration of the work by shifting the image to a new method of production, in this case as series of duotone prints. Since the viewer never sees the original images, the finished work is simultaneously shaped by the artistÍs hand, and by the various methods of reproduction. What results is a striking series of images constructed by a blend of documentation and fabrication of reality.
Adler is represented by ACME in Los Angeles. She has had solo exhibitions at the Museum of Contemporary Art Los Angeles and The Hammer Museum. She has also had solo exhibitions at the Photographer's Gallery in London, Taka Ishii Gallery in Tokyo and Massimo De Carlo Gallery in Milan. Adler's work was selected for the Kwangju Biennale in Korea in 2000 and was included in The Americans at the Barbican Gallery in London and Form Follows Fiction at the Castello di Rivoli in Turin, Italy. Adler has previously worked with LACE in 1999, presenting an exhibition entitled, Amy Adler Curates Joni Mitchell.
Political Slogans and Flower Magick: Someone You Know May Need A CHOICE, 2006, Paper, wire, gouache, political button approx. 19 1/2" x 12" x 12",
ed. of 15
courtesy of the artist
Average people acting in extraordinary ways is a phenomenon that Andrea Bowers traces throughout her work. She often takes inspiration from Feminist actions in the 1970s and 80s.
The Intersection Series: Statue/Bound Person, 2002, Iris print
Paper size: 15 3/4" x 13", Image size: 11 7/8" x 10 1/4" ; ed. of 20
For this print, John Baldessari used two found images: one, a portion of a movie still that features the figure of a naked man, supine and loosely coiled in thick rope; the other, a photograph of an Art Nouveau-inspired female nude wearing nothing but a look of glee.
John Baldessari is a major figure in contemporary art. He has had numerous solo exhibitions including shows at the Reykjavik Art Museum in Iceland, the Marian Goodman Gallery in New York, the Sprengel Museum in Hanover, Germany, and the Margo Leavin Gallery in Los Angeles. His work has been included in group shows across the U.S. and abroad including exhibits at the Getty Museum, Los Angeles, Museu d'Art Contempoari de Barcelona, the Armand Hammer Museum in Los Angeles, and the Venice Biennial.
Free Space Meter Boot, 2000
steel; color photograph,
steel box halves approximately 17 1/4" x 8 1/4" x 8 3/8"
and 18 1/4" x 8" x 9"; approximately 18 1/4" x 8" x 9"
installed (interlocking); color photo 8" x 10"; ed. of 15
Evan Holloway has made an object entitled Free Space Meter Boot. It is a steel box reminiscent of a Serra maquette -- it is a finely scaled rectangle with an industrial patina. The box is designed to fit over a parking meter. Once in place, it cannot be removed unless the meter is actually cut away -- thus offering a free (albeit temporary) parking space. Like much of Holloway's work, this piece offers a kind of renegade hospitality or a small utopic gesture.
The steel sculpture consists of two interlocking five-sided steel boxes. Each box has a u-shaped cutout at one end with a diameter of approximately 3 1/2". The work is installed by pressing the two box halves around meter or a single vertical pole until they snap together. Flexible 20 gauge interlocking tabs on the interior of each component prevent the box halves from being separated once installed. The sculpture has been chemically patinated on the outside and rubbed with linseed oil. Each edition includes an 8" x 10" color photograph documenting the installation of the Meter Boot Prototype on 29 March 2000.
Evan Holloway has had solo exhibitions at Marc Foxx, Los Angeles, where he is represented, and at Arts Commission Gallery and Galaxy Bizarre in Tacoma, WA. In addition, he has participated in such notable group shows as Standing Still & Walking In Los Angeles at Gagosian Gallery, Caught at 303 Gallery in New York, Play Mode at University of California, Irvine and University of Michigan, Ann Arbor, Brighten the Corners at Marianne Boesky in New York, Malibu Sex Party at PURPLE in Los Angeles, and Work and Progress at Los Angeles Contemporary Exhibitions.