Monday, January 31, 2011
Sunday, January 30, 2011
Saturday, January 29, 2011
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.
Wednesday, January 26, 2011
“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
ALL DOGMA HAS ITS DAY
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.