Monday, January 31, 2011

Brad Eberhard Collaboration

Brad Eberhard's band Wounded Lion and The Right Wing Jason Meadows and Evan Holloway will help celebrate and close the January Kamikazes.

Sunday, January 30, 2011

Caroline Clerc Collaboration

Caroline Clerc Collaboration with Helen Kim

Saturday, January 29, 2011

Christopher Pate, January 29


For my exhibition "Amerigo", I will be exhibiting one large painting and a group of works on paper. These works were spurred by contemplation of the European exploration and invasion of what came to be called America and the man this 'New World' was named after, Amerigo Vespucci. Vespucci was a curious character who happened to be in just the right place at just the right time to receive the honor of his name being eternally glorified in the naming of two continents. One could say he deserved the honor principally as a master self-promoter and clever huckster, whose inflated claims for his skills of navigation and tall tales of voyages at sea served to attract royal money to fund his explorations. Besides offering a compelling metaphor for the manner in which artists posture to fund their own explorations, there is obviously much to consider in terms of that moment in history when Native American cultures fell to disease and plunder by European invaders and how much, or how little, has really changed since then. The window into history may often be foggy and obfuscating, but certain traits of our forebears carry forth clear as day. The slick salesmanship behind the corporate machine finds no border that can't be traversed, no population that can't be effectively colonized. Amerigo Vespucci embodies this thirst for continual expansion.

Christopher Pate (born 1965 St. Louis, Missouri, raised in Boise, Idaho) has lived and worked in Los Angeles for over 25 years. He has spent this time investigating the role of painting and drawing in contemporary society, which led to a sequence of particular projects. In recent years, the work has coalesced into an amalgam of abstraction, representation, collage and pop imagery, forming principally abstract meditations on history and the imperfection of memory.

Solo exhibitions include “Flyover” at Jail, Los Angeles, CA, 2008, “Float Some and Jet Some” at Cartelle, Marina del Rey, CA, 2005, “Horizons and Archipelagos” at Roberts and Tilton, Los Angeles, CA, 2000, with an upcoming solo exhibition in March, 2011 at Marine, Venice, CA. Notable curatorial ventures include the series of four “Rogue Wave” exhibitions at LA Louver (2001-2009), “Hef” at Jail, Los Angeles, CA, 2008, and “Tripindicular” at Lemon Sky, Los Angeles, CA, 1999.

Friday, January 28, 2011

Miriam Dym, January 28

4-letter words

Thursday, January 27, 2011

Tim Nolan, January 27

2011 Kamikaze Show

Wednesday, January 26, 2011

Katie Herzog, January 26

“Gravity is Always Attractive” premieres Herzog's most recent work,
“Our Picture of the Universe,” combining cosmetology and cosmology in
a shared vision of universe and title. Stephen Hawking's "A Brief
History of Time" is the foremost populist scientific text attempting
to democratize hermetic theories using pictures and words in lieu of
equations. Hawking's book begins with a chapter titled "Our Picture
of the Universe," which is read by Ximena Navarrete, Miss Universe
2010, in the audio recording playing in the gallery. Navarrete was
born in Guadalajara in 1988, the same year Stephen Hawking's "A Brief
History of Time" was first published.

Katie Herzog is an artist and librarian living in Los Angeles. Recent
solo exhibitions include "Informel" at Actual Size, "Architecture
School Dropout" at the Southern California Institute of Architecture
cafe, and "Ecstasy of Municipality" at Whittier City Hall.

Tuesday, January 25, 2011

York Chang, January 25


Ideology represents the imaginary relationship of individuals to their real conditions of existence

This work is heavily influenced by my recent exhaustive investigation into visceral realism, a short-lived Latin American conceptual art movement active in Argentina during the economic crisis in the 1990's. The visceral realists were engaged in creating new forms of institutional critique, and organized their own radical version of "happenings" that took the form of small riots in commercial galleries, museum takeovers, and abductions of curators. I continue to be drawn to their body of work for the manner in which it exemplifies the intersection between crisis, catastrophe, and creativity. The work in this show, which I consider to be a single installation, investigates the visual politics of violent spectacle and protest, and the close relationship between political extremism and the concept of a "suspension of disbelief" in literary theory.

Monday, January 24, 2011

Noah Thomas, January 24

The Rover

Sunday, January 23, 2011

Ruby Osorio, January 23