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Artist Talk with Open Daybook curator David P. Earle and guests

February 3, 2011 @ 7:30 pm - 9:00 pm

February 03, 2011
7:30 – 9 pm
With David Burns, Yok Chang, Starlee Kine, Karen Lofgren, and Eugenia Paz

Join us in ending this chapter of David P. Earle‘s The Open Daybook project and its heralded exhibition at LACE for a discussion of the curatorial process, an examination of time, and the unique artwork created for this project. For this Thursday Nights at LACE event, Earle will be joined in conversation by artist, writer, and public radio producer Starlee Kine as well as Open Daybook artists David Burns, York Chang, Karen Lofgren and Eugenia Paz.

The Open Daybook is both a compilation of original artwork and a functional perpetual calendar. Over the course of a single year, three hundred and sixty five artists were assigned a date and given 24 hours to create a work of art. Each day is a page in the book.

Calendars are intrinsically interactive – you enter appointments, check dates, plan the future and revisit the past, all of which are keyed to your life and its intersection with the lives of others. The Open Daybook lets the owner interact with the work of 365 of today’s most exciting artists. The design of every dated page allows users to record their life and engage artistically with contributors as diverse as Miranda July, David Rakoff, Jill Greenberg, and Mungo Thomson.

David Burns currently lives and works in Southern California. He received a BFA from CalArts and an MFA from UC Irvine.  His recent video work has shown in festivals and exhibitions including The Los Angeles County Museum of Art, The Getty Center, Los Angeles, The Tate Modern/Tank.tv, London, The Armenian Museum of Experimental Art, Seoul Museum of Art, Korea, and in festivals including InsideOUT, OutFest, MIX, NEWFEST, Chicago Underground Film Festival, and others.  Burns’ recent art projects have exhibited at The Los Angeles County Museum of Art, Los Angeles, Ars Electronica, Austria, Yerba Buena Center for the Arts, San Francisco, Netherlands Architecture Institute at Maastricht, The Canadian Centre for Architecture, Montreal, Intermediae, Matadero, Madrid, Another Year in L.A., Los Angeles Contemporary Exhibitions, Redline in Denver, Colorado, LA Freewaves, The Armory Center for the Arts, Machine Project, and Artists Space in New York.  Recent curatorial projects include Let Them Eat LACMA at The Los Angeles County Museum of Art, The Drama of the Gifted Child for The Armory Center for the Arts, BUMP for Los Angeles Contemporary Exhibitions and Embodied Technologies for Art Interactive & Leonardo.

York Chang (b. 1973, St. Louis, MO) is a conceptual artist and painter who manipulates the cultural projection of ideology, fanaticism, and political power. He creates immersive “total” installations, exploring the exhibition construct’s potential for literary fiction writing and turning forensic and archival information systems into supports for poetic gestures. He earned both his BFA (1996) and Juris Doctorate (2001) from University of California, Los Angeles (UCLA). Select exhibitions include ARCO Madrid with g727, Madrid, Spain (2010); ZOOM at the Torrance Art Museum, Torrance, CA (2009); The Search for the Visceral Realists at the Federal Art Project, Los Angeles, CA (2009); Asian New Media, Center for Democracy at Japanese American National Museum, Los Angeles CA (2008); Hard Left, at Merry Karnowsky Gallery, Berlin, Germany (2008); Legally: An Unethical Happening at the Hyperion Tavern, Los Angeles, CA (2007); Santa Monica Originals at the Arena 1 Gallery, Santa Monica, CA (2005); Open Show 2004, curated by James Elaine, Hammer Museum Curator, Gallery 825, Los Angeles, CA (2004). He was recently featured in a 2010 MOCA Panel on interdisciplinary arts with Lauren Bon and Jorge Pardo. He is a recipient of a 2011 Fellowship award at 18th Street Arts Center, with an exhibition scheduled for June 2011. York Chang lives and works in Los Angeles, CA.

David P. Earle is a Los Angeles based writer and artist. His work has been featured at Telic Arts Exchange (Los Angeles), The Fellows of Contemporary Art (Los Angeles), The Armory Center for the Arts (Pasadena, CA) and The IFC Center (New York). He is an adjunct faculty member in The School of Critical Studies at CalArts and a faculty member of The Armory Center for the Arts in Pasadena, CA.

Starlee Kine is a Daybook contributor and public radio producer and writer. Her work has been featured on “This American Life” and “Marketplace” and her writing has appeared in the “The New York Times Magazine.”  She created Issue 10 of “The Thing,” an object based publication produced by visual artists John Herschend and Will Rogan. Kine’s radio piece “Dr. Phil” won the top honor from the Third Coast / Driehaus Foundation Competition.

Karen Lofgren is a Toronto-born LA-based artist who completed her MFA at CalArts. Group exhibitions include High Desert Test Sites, LACMA, Slab Projects, Anna Helwing Gallery, FiveThirtyThree, Mihai Nicodim Gallery. Solo projects include Signs Point to Yes at LACE, Believer at Machine Project and Gold Flood at Pitzer Art Galleries, for which she also received a grant from the Durfee Foundation. Her work has been featured in artforum.com critic’s picks, the LA Weekly, and the LA Times, as well as books, catalogs, and album covers.

Eugenia Paz is the youngest of the leading Visceral Realists, and works primarily as a painter and a writer. Born and raised in Medellin, Colombia, she studied art and political science at the University of Antioquia, eventually completing an MFA at Goldsmiths, University of London. Given the stigma of violence associated with her home city, Paz has an uneasy relationship with the degree of violence advocated in Visceral Realism, and chooses to focus on the creativity posited to arise out of the conflict resolution phase of the Visceral Realist production cycle. She has written extensively on the relationship between sabre-rattling and juvenile delinquency. Inspired by the fable of the famous Greek painter Parrhasius, Paz’s painting work delves deeply into notions of deception and illusion, flawlessly reproducing famous Velazquez paintings with the upper halves obscured with trompe l’oliel silk and cloth veils.
Her manifesto:
There is no substitute for reality, except perhaps the Three Lies of Painting:
1.) the lie of the materials of a painting, purporting to be something it is not, 2.) the lie of the subject matter of a painting, carefully orchestrated by the artist, and 3.) the lie that the viewers tell themselves while looking at the work.



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